REPURL 
THE GREER ALVA 
HOWARD MAJOR — 


a 4 a... 
~ Serre ¥ _ se —se ioe = 
= . eels Be PD ~ 7 A ‘ We? 
¥ oa oP bat pee eee ys : i : , 


ia DOMESTIC ARGHITTECTURE OF 
Tie EARLY AMERICAN REPUBLIC 


THE GREEK: REVIVAL 


MOB SOL ILO OSTEO EIB 
UNIFORM EDITIONS 


SMALL MANOR HOUSES AND 
FARMSTEADS IN FRANCE 


By HAROLD DONALDSON EBERLEIN 
AND 
ROGER WEARNE RAMSDELL 


Frontispiece in Colour and 253 Illustrations in 
Halftone. 


THE DOMESTIC ARCHITEC— 
TORT ORS EE TSR AR Ta 
AMERICAN REPUBLIC 

THE GREEK REVIVAL 
By HOWARD MAJOR, A.I.A. 


Frontispiece in Colour and about 256 Halftone 
Illustrations. 


VILLAS OF FLORENCE AND 
TUSCANY 


By HAROLD DONALDSON EBERLEIN 


Frontispiece in Colour and 300 Illustrations of 
the finest examples taken by the author. 


SPANISH GARDENS AND 
PATIOS 
By MILDRED STAPLEY BYNE AND 
ARTHUR BYNE 


4 Colour Plates; 175 Illustrations in Halftone, 
with Measured Drawings. 


THE OLD MISSION CHURCHES 
AND HISTORIC HOUSES 
OF CALIFORNIA 


THEIR Maree ARCHITECTURE, 
RT AND LORE 


By oe NEWCOMB 


Frontispiece in Colour, 217 Illustrations. 


Each volume is written by an expert on the particular 
subject and is an exceptionally fine example of the 
book-maker’s art. The letterpress is in perfect taste, 
the paper in harmony, the illustrations from photo- 
graphs or drawings made especially for the books, the 
bindings in handsome buckram stamped in gold. 


THE GETTY CENTER 
LIBRARY 


AT MAIN AND PLEASANT STREETS, NANTUCKET, MASSACHUSETTS 
From a painting by Edward Stratton Holloway ‘ 


THE DOMESTIC ARCHITECTURE 


OF THE 


EARLY AMERICAN REPUBLIC 
THE GREEK REVIVAL 


BY 
HOWARD MAJOR, A.I.A. 


WITH A FRONTISPIECE IN COLOUR AND 
256 ILLUSTRATIONS 


PHILADELPHIA & LONDON 
J.-6;-LIPPINCOTL COMPANY, 
1926 


FIRST EDITION 


* 


AT THE WASHINGTON SQUARE 
PHILADELPHIA, U.S.A. — 


=) 


TO 
MY MOTHER 
AND TO 


MY WIFE 


FOREWORD 


INE only the architect but the general reader should 
find the one Style of architecture that America has 
developed to be of absorbing intereSt, Particularly is this 
true of the reader who is contemplating building him- 
self a house: he and his architect will find this presenta- 
tion of the best examples of this Style throughout the 
country east of the Mississippi (our entire Civilisation at 
that period) of the greatest practical value. 

Architects, schools, colleges, architectural schools, 
libraries, and museums have long needed such an ade- 
quate body of illustrations of this Style as has here been 
collected, and with it I have endeavoured to supply the 
Story of this most interesting development—what it was, 
how it happened, its particulars, the adaptability of this 
Style of domestic architecture to our use to-day, and 
its advantages. 

To endeavour to cover the large field incorporated in 
the sway of the Greek Revival, a field ranging from the 
Gulf to the Great Lakes and from the Atlantic Seaboard 
to the Mississippi Valley, has involved the cooperation 
of many intereSted collaborators. I wish here to express 
my appreciation of their altruistic assiftance and to ac- 
knowledge the value of their efforts in bringing this pub- 
lication before the public—particularly to acknowledge 
the aid of two archeologists who have for years been 
devoting much time and careful thought to covering their 
respective territories in search of old edifices, men who 

vii 


FOREWORD 


have been pioneers in gathering together works of the 
Great Revival—Jefferson Hamilton, who kindly placed 
his complete and well selected collection of photographs 
of houses in Alabama, Florida, Louisiana, and Mississippi 
at my disposal—Mr. I. T. Frary of the Cleveland Mu- 
seum of Art for the fruits of his exhaustive researches 
through Ohio, and to Mr. Edward Stratton Holloway, 
of Messrs. Lippincott, for various suggestions. 

And I further acknowledge my indebtedness to the 
following :— 


To Professor John S. Ankeney of the University of Missouri. 

To Harry North Austin, for photographs about Natchez, Miss. 

To Arthur T. Bolton, Curator of the Sir John Soane Museum, 
London, for chronological data upon the garden temple at 
Hagley. 

To Mrs. J. F. Clark—Chairman, Division of Art, Ohio Fed- 
eration of Women’s Clubs, for photographs in and about 
Columbus, Ohio. 

To Ogden Codman for the use of his collection of architectural 
photographs. 

To J. R. Coolidge, Jr. for several photographs of examples in 
Boston, Mass. 

To N. C. Curtis, for helpful suggestions. 

To Warren W. Day, for photographs in Illinois. 

To Harold Donaldson Eberlein for his helpful suggestions. 

To Robert Grannis for the excellent examples in Candor, Ithaca 
and Covert, N. Y. 

To Paul Hollister for the interesting illustration from Grand 
Rapids, Mich. 

To T. Charlton Hudson for the particularly interesting examples 
in Columbus, Ga. 

To Fiske Kimball for the excellent: photographs about Ann ~ 
Arbor, Mich., and his kind codéperation. 

To Robert A. Lancaster Jr., for his kind codperation. 

Vill 


FOREWORD 
To A. J. MacDonald, Editor of The Architectural Forum, for his 


assistance in many difficulties. 

To William Odom for his interest and helpful advice. 

To N. W. Overstreet for his help in Mississippi. 

To Mrs. Marie B. Owen, Director, State Department of Archives 
and History, Montgomery, Ala. 

To Albert Simons for many of the photographs in Charleston, S. C, 

To Douglass Taylor for procuring photographs in Huntsville, Ala. 

To Howell Taylor for many photographs in Michigan. 

To Reginald Townsend, Editor of Country Life for photographs in 
Natchez, Miss. 

To Alexander J. Wall, Librarian of the New York Historical 
Society, for his aid in placing the photographic data of this 
Society at my disposal. 

To William T. Warren, for helpful data in Alabama. 

To Russell Whitehead, Editor of the White Pine Series for his 
great kindness in placing the valuable and comprehensive 
photographic material of that publication at my disposal. 

To Roger B. Whitman, Associate Editor of Country Life for his 
interesting photograph in Northumberland County, Va. 

To Frank P. Whiting, for his interesting photographs about 
Cooperstown, N. Y. 

To J. Appleton Wilson, Corresponding-Secretary, Maryland His- 
torical Society, for the photographs in Baltimore, Md. 

To Richardson Wright, Editor of House and Garden, for his kind 
assistance in presenting photographs. 

And to the following photographers: 

R. T. Tebbs, for many excellent photographs through Georgia 
and in Tusculoosa and in South Carolina. 

Phillip B. Wallace, for the photographs chosen about Philadelphia. 

John Wallace Gillies, for the photographs of houses in Great Neck, 
Long Island. 

Halliday Historical Photograph Company, for several photographs 
in Massachusetts. 

T. N. Henderson, for photographs in Natchez, Miss. 

James F. Hughes and Company, for photographs in Baltimore, Md. 

H. P. Tresslar, for the photographs in Montgomery, Ala. 

1X 


FOREWORD 


BIBLIOGRAPHICAL 

Further, I acknowledge my indebtedness to Fiske 
Kimball’s work, DomeStic Architecture of the Ameri- 
can Colonies and the Early Republic, for historical data 
and for the excellent analysis in its chapter on this 
period. 

Other indebtedness to published work is hereby 
acknowledged to the following : 


American Builder’s Companion, The, by Asher Benjamin, 1816. 

Architect or Practical House Carpenter, The, by Asher Benjamin, 
1830. 

Architecture of Colonial America, The, by Harold Donaldson 
Eberlein 1915. 

Body of Architecture, The, by Isaac Ware, 1756. 

Century of Missouri Art, A, by J. S. Ankeney, in the Missouri 
Historical Review of July, 1922. 
Charles Bulfinch Architect and Citizen, by Charles A. Place, 1925. 
Classical Antiquities of Athens, by Stuart and Revett, first volume 
appeared in 1762, second 1787, third 1794, fourth 1816. 
Colonial Architecture of Maryland, Pennsylvania, and Virginia, 
The, by Joseph Everett Chandler, 1892. 

Early Domestic ArchiteCture of Ohio, by I. T. Frary, in the 
American Architect of April 11, 1923. 

Encyclopedia Britannica, 11th edition. 

English Ironwork of the XVII and XVIII Centuries, by J. 
Starkie Gardner, IgII. 

Examples of the Greek Revival Period in Alabama, by J. Robie 
Kennedy, Jr., The Brickbuilder, for June, and July, 1904. 
Furniture Masterpieces of Duncan Phyfe, by Charles Over 

Cornelius, 1922. 
Georgian Period, The, edited by William Rotch Ware, 1899. 
Greek Revival, The, by Howard Major, The Architectural Forum, 
February, 1924. 
Greek Revival, The, Its Manifestation in England, by Howard 
Major, The Architectural Forum, March, 1924. 
x 


FOREWORD 


Late Georgian Houses, by Stanley C. Ramsay, 1919. 

Modern Builder’s Guide, by Minard Lafever, 1833. 

Monumental Architecture in Great Britain and Ireland, by A. E. 
Richardson, 1914. | 

New Bedford of the Past, by Daniel Ricketson, 1903. 

Octagon, The, by Glen Brown. 

Old Northwest, The, by Fred Austin Ogg. 

Old Houses of Michigan, The, by Fiske Kimball, in The Archi- 
tectural Record, September, 1922. 

Old Houses of Connecticut, by the Connecticut Society of the 
Colonial Dames of America, 1923. 

Palladio. 

Plans and Views in Perspective with Descriptions of Buildings, 
by Robert Mitchell, 1801. 

Pioneers of the Old Southwest, by Constance Lindsay Skinner. 

Ruins of Paestum, The, by Thomas Major, 1768. 

Thomas Jefferson, Architect, by Fiske Kimball, 1916. 

Vitruvius Britannicus, by Colin Campbell, 1715-71. 

White Pine, The, edited by Russell F. Whitehead, 1916-26. 


HOWARD MAJOR 


New York anp Paim Beacu 
JuNeE, 1926 


CONTENTS 


CHAPTER 


IBBINRRODUCTIONI mas Ge sls e ae es a 
II. An AMERICAN STYLE FOR AMERICANS. 


III. Tue INcEPTION oF THE STYLE. . 


IV. THe DEVELOPMENT OF THE GREEK REVIVAL . 


V. MaTERIALS AND ARRANGEMENT. 


VI. VaRIATIONS AND STRUCTURAL DETAILS . . 


VII. THe DeveLopMenT WEST oF THE ALLEGHANIES. 


NSODTSSS. 5¢ Gar GAB ae Ga dees ae eee 


PAGE 


233 


ILLUSTRATIONS 


PAGE 
At Main and Pleasant Streets, Nantucket, Massachusetts 
Frontispiece 
The Gorgas House, Tuscaloosa, Alabama. . . . . Title page 
Both from paintings by Edward Stratton Holloway 
Sketch Plan for remodelling the Governor’s House at Williamsburg, 
iiveinia, t770, by [Thomas Jefferson. . . . . 2.» . =» . 19 
Maison Carrée, Nimes, France. . . re eo Or ae ace ee 2k 
Virginia State Capical, Richmond, eae, 1789, designed by 
Thomas Jefferson . . 5 2) 


Design for a Church in the Viernes Serie ae Coun Campbell 23 
Garden Temple at Hagley for Lord Lyttelton, by James Stuart, 


(ci toe en ee we 29) 
No 15 St. James eee ieamen. e one: Stars aes vy Seen ERTS 
Design of a Greek Temple for Living Purposes, by Robert Mitchell, 

ESOUS. | Gin: Et ge ee ae 
Thaddeus Burr Hane. Fairfield. Gamnenticut aN: 35 
Bank of the United States, eee by Benjamin sian Tetons 

finished by William Strickland. .. . 40 
Professor’s House, University of Virginia, Gharlotrenalies 1818, 

Secteneamoyelhnomas jeiierson . .« . « < . + « +» # « « 42 
manecomeeAlexandria Co., Virginia. . 2 « «1 « »« » . ~~ 46 
Pcelusiaemear Chiladelphia, 1845 . . . « «5 ©... + » 47 
“Berry Hill”, Virginia, 1835 2. ey ee 
Elevation con “The Modern Betece: s Goes hs by 

Minard Lafever. . . Ag 


From “The Modern Builder s Gua. ieee Minerd atees SO 
First Floor Plan of a Country Residence from Lafever’s ‘The 


Mammarmebutcders (suide?, 1833 soe se eS Se en 4 
Pemenesce\Viansion, Washington, D.C. 2 2-2 e 6 ws we 54 
House at Ri oer eomery, Alabauaew eee 59 
Design for a Country Villa from Lafever’s “The Iledern Bases s 

(Suen 1833. + < eer eras ea ee LS) | 
The Louis Hall House, Orteme Nicer SR ate Ok SO? 
Triple Window, 1109 Walnut Street, Philadelphia . . . . . . 63 
Doorway of Mackay House, Willseyville, New York . . . . . 65 
Doorway, 1107 Walnut Street, Philadelphia . . . . - » « = 65 
Portico Entrance, Andalusia, near Philadelphia. . . . . . . 66 


XV 


ILLUSTRATIONS 


PAGE 

A Doorway at Portsmouth, NeH: 2°... ie oes Res, 
Doorway of Professor Seymour s House, Hiden Ohio ocean Og 
Doorway, Treat House, Aurora, Ohio 45.) 2 20. 2 oe 
Doorway of the Cox House, Deen Ohio. As. Yee es 
A Doorway at Unionville,Obiom, 77.4% 2 = 4S . 2.) ees 
Girard College= Philadelphiatins 4.0%) <0) <) <n. | oe See 
Vesper: Clits Oswego, iNa Y= Sc aan. 73 
Interior of rhe John C. Stevens House, College Place and Muscat 

Street, New York City 45.) 5. Se ee 
Cast [ron Balcony at Athens, Georgia’. -. 9: = <=) eee 
Log Cabin at Logan Elm, Qhio =. 40 2. 4. 2 >a seme 
House at Tuskegee, Alabania Ee 89 
““Gainswood’’, Demopolis, Alabama "pally General! B. Whitfield 92 
Singletary House, Streetsboro, Ohio, about 1835 . . . =. . =| 93 
A Doorway at Gariden Ohio...) se Go 

PLATES 
THE NORTH ATLANTIC SEABOARD 
PLATE 

MaINE 

Ellsworth . I 

Greely Readencet Elleworeh 2 

House on Danforth Street, Portland 2 

House on State Street, Portland 3 

House on Spring Street, Portland 4 

Two-Family House, Portland . 5 
VERMONT 

Castleton . 6 
MassaACHUSETTS 

House at Corner of Summer and Bedford Streets, Boston 7 

Henry Codman House, Roxbury .-: = © «2 () eens 

Guild House, Roxbury : + ne 

Edward Everett Hale House, Rabun ie Pe 

Oak Knoll, Whittier House, Amesbury at - » site. ni 

Booth House, Boston . 5 =. = «© « 1) > «nn 

Roxbury = - . eo es 

Doorway at 59 Mt. Verba Street, Boson a es 

Old Bennett House, New Bedford...) . a. .) | ueeeee 

Louisburg Square, Boston (5. © . . = = | © ae 


XV1 


ILLUSTRATIONS 


PLATE 
CONNECTICUT 
Hiome of Richardson Wright, Silver Mine , . . . % « « « 16 
New London. . . Sect e Ee Mh eA Mecca! Ge ot SA LD Ord 
Sanford House, Teenie me Ns care ine oe Fes, ey On ee en Wg 
Farmington . . a es ae REE 1S 
Thaddeus Burr Hose rancid ee eS ee Lea ee etek EE Co 
Doorways at New Lenten Pela ters Uiris ry (ieey 7 tS aes ee Le. 
New Yor« 
pinesboody Louse, Seneca Lake <2. 2 4) 6. 4 s as 21 
Beeiovenmeck tiouse; Owego \. 4g... ke et ee we 22 
Daniels House, Oren aS SRR nee eM den Pee 22 
Marshall House, Rodsmans Neck. ok Sac a Cee i ee) 
ee ORM PS fe cai Go Ps AEA ae a) a Rh 
iene NS Re eh Pe. 8 ee ae Phe we Pe 28 
ee eran Ge ee ets © ee oe ot 20 
SSL CE ISIS RNAS | sa 0 Rs 2 GR et ae ee 
ee ee em a Pere bend ek eae GL) ey oe eae ww 28 
Pe emellancdmr tr ey Se ane kere gs a ee ee. a 28 
andor , » . Re ee ae cee mae ene 20 Ls yb eee ena 20) 
Front Street, Gree er een we eee att i) sea GP S30 
Ge cctown eee Ser PET A ee hal Ue ere geen a9 I 
Preston House, (ulltersville eS. Clea hy Wah Oe nana en eng | 
Willseyville, Tioga eal et WE ees! Bede eee A 2 
Cooperstown. . el A re ey Se oe ear 
Great Neck, Long be, BR A a ne omer 
Randolph, . , Se aa Boe vs ae RG nee ast os 35 
Great Neck, Long Tlends ese et ee, Qe Nh ee ete 


iMilemiieuse, Ludlowville . 2 2 » s+ « # » a % «a. 36 
Pee EMMIS fie hep) pce Sele elder tps eee ee te Ue 7 
LE OMe CrePMMPTAC UES BN me Da My Nery R cay vet Mae es coe Sid. Gmomnp ute VISE 
Barrer OM ge a Me ee eg) Big” ay ME Wey ted ey Fae 3S 
eee COStCla Meier c\ cp yo ya/ GDh yes im 5+ See cigs pie “Sa el oe 638 
Peomvaweateandoipa: 4 yn eb sv eye Ob eee = 3 30 
Mero aveateLeruy ter). 3.9 lta: wt Oe Pp oe se eee coe oe 939 
PENNSYLVANIA 


Andalusia, Bucks County. . Bee eee, te a, 
John Price Wetherill House, Tosust Grove of ghlint sar tee Eee 
The Flatlands, Audubon. . ee era Kier 


Roberts Hace. Walnut Street, Philadelphia eM ey | ery 

Reed House, Chestnut Street, Philadelphia sptan kd mater ae e A: 

Portico Row, Spruce Street, Philadelphia. 1.) = “ayant 45 
XVll 


ILLUSTRATIONS 


1109 Walnut Street, Philadelphia . 
212 South 4th Street, Philadelphia 
Doorway, Mount Airy, Philadelphia . 
Doorway 715 Spruce Street, Philadelphia 
New JERSEY 

Van Winkle Residence, New Market . 
Houses at Metuchen . . 

Sebring Residence, Plamaela 

Agnew Residence, Nee Brunswick 
Ewing House, Morristown 

Princeton . age 

Doorway at Bordentowe ; 


DELAWARE AND MaryYLAND 


Wilmington ; 
107 West Monument Street ipeiameres 
119 West Franklin Street, Halcmores 
604. Cathedral Street, Baltimore 

515 Park Avenue, Baltimore ; 
105 West Franklin Street, Baltimore . 
118 West Franklin Street, Baltimore. . 
8 West Mount Vernon Street, Baltimore 


THE OLD NORTHWEST 


OuHI0 


Kelley House, Columbus . 
Norwalk ‘ 
Guthrie House, Tie ite 
Warren. 

Talmadge . 


Phi Gamma Delta Houses Gramalle . 
Chagrin Falls . 
House between Chagrin Falls era Solon 
House near Wellington : 
Hurst House, West of Rocky Rives 
Singletary House, Streetsboro . 
Baldwin Buss outs Hudson . 
House West of Ashtabula 
Norwalk 
Kirtland: ; 
Pickering House, St. Ciaievile 
Gaylord House, Silver Lake 

XV11i 


ILLUSTRATIONS 


East Porch, Kelley House, Columbus : 
Doorway, Phi Gamma Delta House, Granville 
Doorway of Baldwin Buss House, Hudson . 
Doorway, 405 Front Street, Marietta 
Doorway, Elwell House, Willoughby 
Doorway at Madison . : 
Doorway, Buckingham House, PZ aneediltcn 
Doorway, Western Reserve Gales Hudson 
ILLINOIS 
The McKinney House, Peoria . 
The Morron House, Peoria. 
MicHI1GaNn 
The Pike House, Grand Rapids . 
Smith House, Grass Lake 
Ann Arbor ae 
Mills House, Tipton . 
James McAllister House, ecamech’ 
Tipton : 
Smith Tavern, eaten é : 5 
Colonel James R. Smith House, Monroe : 
David Carpenter House, Blissfield 
Anderson House, Tecumseh 
Near Manchester . : ee 
Thomas Howland House, near nes ’ 
Butler Treat House, near Tecumseh 
Matthews House, near Clinton 
Dr. Mason House, Dundee 
Peavey House, near Tipton 
Doorway on La Plaisance Bay Road 


THE SOUTH ATLANTIC SEABOARD 

VIRGINIA 

Arlington, Alexandria County 

Mantua, Northumberland County 

Berry Hill, Charlotte County 

The Archer Residence, Richmond 
Nortu Caro.Lina 

Martichal Residence, Raleigh . : 

Doorway of the Martichal Residence, Ration : 
SouTH CaROLINA 

Mikell Residence, Charleston . 

X1x 


ILLUSTRATIONS 


PLATE 
Mikell Residence, Charleston. . . cela. >) eel een 
Rutledge and Montagu Streets, Creticon Fo ee On. 
The Miller Residence, Charleston i! diate ted Gals © the ee Oe 
9 Bayzotreet, Charleston ume +c nas ee) sa ee ee! 
wlston Residence, Charlestonm 20-04. 90) = oc wee, ae 
Ladson, Residence;;Charleston’ (.=. % 5 =. = 3) Gee 
Charles Alston House, Charleston <= 2° % =| 9. 3 eS 
William ‘Mason SmithiHouse).. 2 >. = 4 ts SOS. ee 
Charleston gr.0n- BL Pech oe I he ssh is Si ag 2 eer 
Lanes Residence, Bevuter goon i ah toa ee a 
Béaufort.\) 9s facet ees veo a eS. os ee 
SOUTHEASTERN GEORGIA 
Savannah, 927s 20 sf ae wl de a DS SS ae 
An Entrance at Soe bow es aoe eae rr 
An Entrance at Savantiahe; “5. = 2 5 5 0) 2.0) res 
A Cast Iron Baleony at Savannah . . | .. <7 2) 
329 Abercorie Street, Savannah . . rr ~  : 
Portico of Tellfair Art Gallery, Savannah: «lw fe oy) (er 
Cast Iron Railing at Tellfair Museum, Savannah >.) 7a 
The Hermitage; Savannah. © 1 « < “so 4) Sn 
FLoRIDA 
Noaring House, Marianna... 5. . . = 5 + 2) ane 
Ely House, Marianna... 1... 2 2 5 | =n 
THE OLD SOUTHWEST 
NorTHWESTERN GEORGIA 
Columbus . 4. . = 2 » © s 5.0 9 2 
Columbusse.s: ae: a se a af ws oe a rn 
Fantaine House, Columbus reer = UE 
Columbus . . Se we ae ek rrr 
642 Prince Street, Athens ce 8 tn a) 6 3 2 Se re 
ATDONG Sie sla Pere 
House on Prince Sirect, Athen - 8 3 0 oe fe hol ree 
425 Hill Street, Athens 2 2. 7 25) 5 Ee 
Bradshaw House, Athens . 2 . 2. .. 9 = 3) een 
a Granecen ae wo we etal > ea a 
Wilson House, La Core MC Persereerey es 
Dallis House, La Grange.) 8) 6 
W. Reeves House, La Grange. 5 . 3). 2 5 2/3) Ge 
Todd House,'La Grange a 9.) 3. 3 
Hill House, La Grange 2. . + 2 25. 8 ee 


xx 


ILLUSTRATIONS 


PLATE 
Ber ores alle Roswell! satus Wee ea Gece eh se e131 
Hxecutive Mansion, Milledgeville ©. 5 ¢ . . 2 . « « 132 
oor spear House, Macon. 2. 4 3. . . s « 2 s « < 133 
rem anstiouse..\Wlacon 15% i.5-. 2) aie 2 8 + 134 
femorecmail rouse, Macon i 1.0% 4.0 4 5 5 : «©. » 135 
Pee vitiemsstiouse, Viacon) . 3, as > =. se) 2s.» «136 
IN 5 MRD gS a eee VASE an Oy aide a © od 

ALABAMA 
RR econne TV mmnr ya nl) syst ah choy ae ar « 1138 
Montgomery ... . ate ae be). @ TSS 
D. L. Roseman House, Thee lone: Eee et ae ee 130 
ieoceremerpiace, fuscalodsAa . 4 . 96 @ 2 ¢ + * © +» I40 
aemerioices ! uscaloosa, « < 22%, eda ss) we gg % I4l 
Spence House, Tuscaloosa. . . ac. rhea Y 
President’s House, University of eae anaes eee TAs 
er eM OE ee eck Wee eg eae me 144 
ina CMP AN. eee Bek SS) ee we ee 4S 
Hunteville, 2 : 5. ee we re aes ss Vey ee TAG 
Casey Homestead near tones Ree. Pree hs peel TAT 
Hemektomestead near Luskegee.. «© . . 2. . « « « © « 147 
Maoimitouse,buskegeé . 2) 3 fae we we 48 
ibuskegee. . ME Me ere ine Fw Ieee, AEs aay NI4D 
A Cottage at Peeve Fay BAIS OAL Ee ae gee a © 8) 
At Tuskegee. . SEE eee oh ys! ata ee Pats lA) 
A Raised Cottage at haber Seat. aes bt eee ESO 
Be receaCPAUDUIM G0. ele) ace es Gd Vee ys wee 8 SO 
Rater (GMEMEENR IS) se eS ew eg eee IST 
MissIssIPPI 

RepeteOmUMe NAtChCZ soy Bs Ale Ug) nse ep gs) 152 
mmemerowmmbrdiin Natchez (20 sis 3k 3) 0 oh) Ow ee ee TSR 
Wunleith, Natchez . .. Se a ae eek eae ee TEA 
A Plantation Home at Netchez Sy pee ee eens eee sey eT S'S 
pomeeteusouse near Natchez . 4 . 2. 4 5 » 6 « + » ‘155 
peemrUmITONSCINATCHEZ 8g 5 ew ce cee ee 186 
Pi gamedtonstiomeiat Natchez, 3 <9. «06 so > «fs « 156 
ape EAC OCZ 6 i ne es ad ee ee Yee ae TSF 
Mmerer tse NAtCNCZ 5 8 <n os Gay i ne Ss Re ae ey, oo) 57 
INBtCheZes -. - male i, te C188 


General rer Uuticadquarters, ee cons Ce ge aki ee ae et SS 
Peet ee Ss Sco se Pods ore sagen Was e Sea 1$9 
XXl 


ILLUSTRATIONS 


PLATE 
LouIsIANA 

ag2 Rampart wtrect, aNew; Orleang en 0. 605 0.0tcan, 5 es ne 
2221 Prytania Street, New Orleans... < +.) 4) 4) seem ee 
Baker Homestead, near [hibodoux .. 9s ,-0- 2. 4) -ueeeeom 
A Plantation Home'near Dhibodoux ~ 2.95. 2 yo .ccu en 
Hermitage, Ascension Parishe.) 740. ‘4 2064 45 sa a 
Three Qaks; near Chalmette 2... . 3. <| 5 Ree 
Plantation House:near Convent . 9.2 «7 «4a 
Across River from New Orleans’. 2 . 3. % 2). copes 
Bayou St. John.) to) Se 
Stover House, New Orleans . . ere 
In the American Section, New Orieenes - 2 3 6 5 res 
In Garden District, Ren Orleans =. 2). a 
In Garden District, New Orleans” . < .”. . 3 eee 
Beauregard Homestead, New Orleans . . . . . (2 eeeeOg 


At Jackson and Chestnut Streets, New Orleans . . . . . 168 


CHAPTER I 
INTRODUCTION 


THE DOMESTIC ARCHITECTURE OF 
THE EARLY AMERICAN REPUBLIC 
THE GREEK REVIVAL 


I 
INTRODUCTION 


HE be&t way to discover the need of a work of 

reference upon a given subject is to require such 
a reference and to learn that it does not exist. Hereto- 
fore our only important information regarding the Greek 
Revival has been contained in publications contempo- 
raneous with the period. This notable and significant 
phase of American architecture has been neglected, with 
the exception of a chapter here and there and a few 
magazine articles, and at best these references have been 
widely scattered. It is the aim of this book to incorpo- 
rate in as comprehensive a manner as possible all the 
various types of the domestic phase of this period in a vol- 
ume companioning the vast amount of work published on 
the Georgian period in America, thereby complementing 
the subject of American architecture up to the year 1850. 

In accomplishing this, two things are necessary, 
First, to bring to light the fallacy of the impression that 
the nineteenth century was devoid of artistic expression 
and is a period to be shunned, as any text book on the 
history of architecture will indicate ; secondly, to place 
before the public irrefutable evidence that this Greek 
Revival is America’s national expression in architecture. 


3 


ARCHITECTURE OF THE EARLY REPUBLIC 


The general misapprehension, of this architecture is 
thus expressed by a well known author : 

The classicism of the Classical Revival, on the other hand, 
was essentially and unalterably rigid in its adherence to the forms 
of antiquity and the archaeological manner of applying those 
forms. It was not an adaptation, it was, in very truth, a revival 
of the modes of two thousand years ago, a gigantic exhibition of 
architectural archaeology. 

The weakness of the architecture of the Classic Revival was 
in its rigidity and inflexible resistance to efforts to adapt it to 
varied modern requirements. 

Tiny temple-fronted houses were not domestic and were as 
unreal and architecturally unsatisfactory as stage settings viewed 
from the rear. 

Such condemnation 1s usually ascribable to the lack 
of real familiarity with the work of the period; any 
amateur with a smattering of architectural knowledge 
will readily realise the unfairness of such criticism as he 
glances through the illustrations of this book. 

Like moSt of the nomenclature of architectural Styles 
the appellation ‘‘Greek Revival”’ is a partial misnomer as 
applied to American architecture. In truth it is a classic 
revival of the ancient architecture of Greece and Rome 
with a great predominance of Greek form, although the 
Roman expression beginning the movement persisted to 
some extent until the end. Many authors prefer the 
designation of Federal Architecture for this Style, but 
although this is perhaps a more fitting title, it is only 
understood by the small minority. The spontaneous | 
naming of this period the ‘‘ Greek Revival” has taken 
hold and it is much to be doubted if any success will be 


4 


INTRODUCTION 


attained by the endeavours of the idealists to alter this 
designation, 

We have a clearly drawn historical factor to consider 
in the development of the Greek Revival. While the 
States of the Atlantic Seaboard had an eStablished civilisa- 
tion the western States along the Ohio and Mississippi 
Rivers were Still in a pioneer, embryo Stage as the Style 
gathered its momentum. Naturally, then, the archi- 
tectural expression of the comfortably eStablished com- 
munities would differ widely from the hardy efforts of 
men Struggling to eStablish themselves in a new country, 
men who had to adopt the means at hand to solve their 
architectural problems. 

There were likewise also natural differences in the 
western development of the Style in the South and in 
the North. From Virginia and the Carolinas many 
pioneers migrated west to the rich so-called ‘cotton belt’’ 
of the South in Alabama and Mississippi and with slave 
labour quickly found prosperity in this fertile land. Their 
first object was to build suitable homes and they en- 
deavoured to outdo in splendour the fine mansions to 
which they were accustomed in the sections from which 
they migrated. With their prosperity, as means to an end, 
they were enabled to erect palatial mansions. 

On the other hand, the pioneers of the Northwest 
area were of more humble circum$tances and tastes. 
They migrated from New England, New York, and 
Pennsylvania, and were well equipped to face the hard- 
ships they were to meet in the new wilderness without 


5 


ARCHITECTUREAOFTTHEGEARLY REPUBLIC 


slaves to do their bidding. These settlers were not of 
wealthy class and were obliged to resort to ingenious in- 
vention to house their families. In no period of Ameri- 
can hiStory is the contrast so sharp as between the palatial 
homes of this New South and the modeSt dwellings of 
the New North. 

Furthermore, the Strong influence of already exist- 
ing architectural tradition affected the Greek Revival 
and instituted differences between the North and South 
along the Atlantic Seaboard. The colonial traditions of 
both sections carried through into the new Style, al- 
though the North was now in a prosperous condition 
and its homes rivalled, if they did not surpass, those of the 
South in splendour and size. 

Because of such marked geographical and &tyliStic 
boundaries and because of the comparatively short time 
during which the Style flourished, it has been considered 
advisable to follow these four great subdivisions, includ- 
ing separately the work within each area, rather than to 
adopt a chronological order. 

The groupings, then, as we have seen, comprise: 
FirS&t: the North Atlantic Seaboard, including all that 
region eaSt of the Alleghanies and north of the 
Potomac. 

Second: the South Atlantic Seaboard, including all 
that section east of the Alleghanies and south of the 
Potomac. 

Third: the Old Northwest, including all that region 
weSt of the Alleghanies and bounded on the south by 

6 


INTRODUCTION 


the Ohio River, on the west by the Mississippi River and 
on the north by the Great Lakes. 

Fourth: the Old Southwest, including all that por- 
tion west of the Alleghanies and bounded by the Ohio 
on the north and the Mississippi on the west. 

It is not the intention in this book to search through 
the old records of various communities to eStablish the 
absolute dates of the buildings illustrated : this period of 
approximately but thirty years, between 1820 and 1850, 
is too clearly defined to make this necessary. The dates 
which are given have been ascertained with as much 
accuracy as possible without this exhauStive research. 

The real aim is to bring before the public all of the 
various domestic phases included in this period through- 
out the then settled America by means of photographic 
reproductions of the actual buildings. With the spreading 
of civilisation we muSt expect the demolition of older edi- 
fices to make way for those with more modern equipment. 
Within our time, many of these dignified Greek buildings 
have been torn down, so that this is a propitious moment in 
which to gather together all of the extant examples 
possible. An Historical Society* has secured one of 
these buildings for preservation, and other such purchases 
will doubtless follow. It is quite right that along the 
Eastern Seaboard the older Colonial edifices should take 
precedence in this respect, but it is high time that 


* The Northern Indiana Historical Society has acquired for its home 
the old South Bend City Hall, a most interesting example of late Greek 
Revival. 


7 


ARCHITECTURE OFS THE HARLY REPUBLIC 


Michigan, Ohio, Georgia, and Alabama should acquire 
for posterity some of these Greek Revival buildings, 
which are their only archaeological tradition, The 
Greek Revival is emerging from its days of calumny and 
neglect, and now, a hundred years after its ascendency, 
its appreciation is manifest. But a few years ago we 
knew of the wooden Greek temple under the sobriquet 
of <‘ Carpenter’s Classic ’’: to-day we look at it with new 
interest and recognise it as the architecture of the Early 
American Republic. 


CHAPTER II 
AN AMERICAN STYLE FOR, AMERICANS 


II 
AN AMERICAN STYLE FOR AMERICANS 


HE Greek Revival is a Style which readily adapts 
| itself to present day use; and it has unmistakable 
advantages, It is the only thoroughly American archi- 
tecture. The traditional American belongs in a house 
of this national Style, our independent creation in archi- 
tecture. With its wide geographic field, from Florida 
to Maine, evidencing the skill of the early design- 
ers in adapting the Style to highly varied climatic 
conditions, we have not only a national expression in 
architecture ; but one that is suited to the rigour of the 
Maine winters as well as to the tropical heat of Georgia 


and the Gulf States. 


Florida is the present day frontier, the melting pot 
of the Union, the Cosmopolitan State. InStead of the 
traveSty upon Latin architecture which prevails through- 
out its area, there should be a thoroughly American Style 
to appropriately house itsinhabitants. The houses of the 
Hellenic phase throughout the Gulf States, with their 
shaded, two Storied verandas, often encircling the entire 
house, fulfil every requisite of climate, convenience, and 
nationalism. As it is true in the South, so it is in the 
North and WeSt. Styles borrowed from Latin Europe 
and North Africa often fulfil climatic conditions; but 
they can never express our zatzona/ character. 

It is a popular belief that the earlier, ‘‘ Colonial,” 

II 


ARCHITECTURE OF THE EARLY REPUBLIC 


architecture is America’s special contribution to the arts. 
This supposition, however, is now realised to be far from 
the fact. It isthe once ridiculed Greek temple-home of 
the first part of the nineteenth century that is distinctly our 
independent gift to universal architectural development. 

Many parallels to our Colonial designs are to be found 
throughout England, and the inquisitive may readily 
verify this Statement by a comparison of the smaller 
English domestic work of the eighteenth century with 
contemporaneous American design, ‘This similarity was 
first called to our attention in ‘‘ The Georgian Period ” 
published in 1go01. It is now universally conceded by 
authorities in both countries, particularly by such recent 
writers as 8, C. Ramsay in ‘‘ Small Houses of the Geor- 
gian Period,” London, 1919, and Fiske Kimball in 
“Domestic Architecture of the American Colonies,” 
New York, 1922. 

In the grip of the prevalent idea that Colonial archi- 
tecture is our national style, one may well think Startling 
the contrary view. The great mass of Colonial data earlier 
gathered and published supported this first belief; prin- 
cipally because there then existed for comparison few 
works illustrating and treating the smaller English houses 
corresponding in scale with our American domestic 
edifices. Though much architectural matter relating to 
the eighteenth century had been published in England, 
it invariably treated of large and elaborate edifices and so 
did not furnish evidence of the close parallelism existing 
between the Colonial residence and the Georgian house 

12 


AN AMERICAN STYLE FOR AMERICANS 
of corresponding scope in England, Nothing on so lordly 


a scale was attempted here as in our mother country, and 
the only comparison then generally possible was of the 
great English Manor house and our modeSt domicile. 
That the Styles were dissimilar naturally became a quite 
obvious conclusion, however erroneous. But in the last 
few years evidence which is indeed amazing has been 
accumulating of the strong parallelism between the con- 
temporaneous English Georgian andthe American Colo- 
nial homes. 

The similarity of such smaller English examples to 
our Colonial architecture was undoubtedly noted by some 
American architects visiting England, but was accounted 
for as being due to a reflex movement from America to 
England. Even Mr. Ramsay in his book as late as 1919 
persists in thisview. Mr. Fiske Kimball proves its fallacy 
in an indisputable manner in his “‘ The DomeStic Archi- 
tecture of the American Colonies.’’ Huis reasoning is well 
founded and the causes are now apparent. In outlying 
English shires and throughout the American Colonies 
the designing of the house fell either to the gentleman 
amateur or to the builder. Either schemed the home 
with the aid of English handbooks of which a great 
number were published and sold at reasonable prices. 
These books quickly found their way to America, Their 
popularity may be judged by the number of editions 
published, sometimes running to as many as ten or twelve 
printings. Whether, then, in outlying diStricts in old 
England or in the American Colonies, the same motifs 

13 


ARCHITECTURE OF THE EARLY REPUBLIC 


found faithful copyists and naturally similar results were 
produced. 

But this is not true of the Greek Revival. The em- 
ployment of the classic temple for dwelling purposes and 
of the colossal colonnaded order predominating in South- 
western homes was independent of contemporaneous 
European influence. Here we have the individual ex- 
pression in architecture of the American people, our own 
great national Style, without parallel in the domestic 
architecture of Europe. 

While much has formerly been written derogatory 
to this American Style, much can and doubtless will be 
written in its praise. Invariably it has a monumental 
quality, and it is unsurpassed in its restraint. And yet 
into this monumental quality has been infused a certain 
charm—an elusive element to secure when it mu& be 
combined with such Stately character, but undeniably 
attained. 

«« American domestic architecture made its indepen- 
dent contribution to universal development. Whatever 
may be thought, there can be no doubt that it endowed 
America with an architectural tradition, unsurpassed in 
the qualities of monumentality and dignity.’”’ This tribute 
of Fiske Kimball emphasises the solid truth that the great 
progress in law, liberty and the sciences in America 
during the first half of the century of our national exiSt- 
ence was not unattended by an equally creative period — 
in architecture. 


CHAPTER III 
THE INCEPTION OF THE STYLE 


ch 


~y 


© 


‘ae Yew 


III 
THE INCEPTION OF THE STYLE 
Ae. the separation from England, America natu- 


rally turned more to the Continent than heretofore 
and particularly to the ancient republics of Greece and 
Rome for inspiration in architecture as in government, 
and so became the inheritor of their free inStitutions and 
traditions and more eagerly assimilated the results of 
archaeological research. 

The movement began with the adoption of Roman 
form introduced by the initiative of Thomas Jefferson. 
JuSt as Inigo Jones was the father of the Renaissance 
in England, so was Thomas Jefferson the father of 
the Classic Revival in America. Furthermore, Inigo 
Jones was the first great English architeé, and likewise 
Thomas Jefferson was the first great American architect. 
History further repeats itself, for as after Jones other 
individuals became determining factors in English archi- 
tecture, so after the initiative taken by Jefferson, others 
played similar roles here. 

Under Jefferson’s leadership the South was first to 
feel this manifeStation of direct classicism in the temple 
form of architecture. The first forms, derived from 
Roman antiquity, were subsequently almost entirely 
superseded by the Greek forms which were to predomi- 
nateeverywhere. Indeed so fully was Greek detail adopted 
later in the movement that the period became popularly 
known as the Greek Revival. 

17 


ARCHIVE CGTURIS OPS THis MARTIN GR Ei Ww DIG 


Jefferson imbued with the classic ideals and forms of 
the Romans, played such an important part in introducing 
this movement to America, that an account of the devel- 
opment of the Style would not be complete without an 
outline of his architectural activities. 

It is doubtful whether Jefferson gave serious thought 
to architecture until about 1769, when, at the age of 
twenty-six, he proposed building Monticello. Order and 
coordination were important factors in Jefferson’s life. 
This, together with his legal training, equipped him with 
a sympathetic understanding of the teachings of Palladio 
with whose books he formed a life-long alliance, 

In his earlieSt Studies of Monticello we find little 
differing from the general architecture of the American 
Colonies, but, as these Studies progressed, he gravitated 
toward Palladio and his final drawings show inspiration 
directly attributable to this source. Thus Jefferson was 
beginning to use classic Rome for inspiration, rather 
than to borrow from the architecture of the surrounding 
country. 

His next architectural endeavour was in connection 
with the Virginia Commonwealth. About 1779, while 
Chief Executive of the State of Virginia, he made a 
sketch for the remodelling of the Governor’s house at 
Williamsburg. In this he planned rows of eight col- 
umns across the entire front and rear, and specified a 
pediment-roof running from colonnade to colonnade, - 
The result was an amphiprostyle, octaStyle temple. 
Here, years before it would elsewhere reappear, Jefferson 

18 


EET INCEEIIONSOFS THES RYLE 


resurrected the temple of the ancients to be used for 
dwelling purposes. In it hes the distinctive characteristic 
of the Classic Revival that was to follow—a pediment 
carrying through and roofing the building without breaks, 
Previous to this sketch, this method of roofing had not 
been attempted. The pediment had heretofore been in- 


Remind fork tte indll fvaif 


SKETCH PLAN FOR REMODELLING THE GOVERNOR’S 
HOUSE AT WILLIAMSBURG, VIRGINIA, 1779 
BY THOMAS JEFFERSON 


dependent of the roof and abutted against it, the building 
being invariably wider than the portico, 

It isnot surprising that Jefferson should have employed 
this temple type. He was a man of individual thought 
and initiative, and as he was purposely turning away 
from the architecture about him and wasa close student of 
Palladio’s ‘‘ Four Books of Archite¢ture,’’ in which were to 

To 


ARCHITECTURE OF THE EARLY REPUBLIC 


be found at that time the beSt reproductions of Roman 
temples, he naturally turned to this source. In the 
Governor’s house, he had a square, box-like plan, obvi- 
ously requiring a portico, and so his mind reverted to 
the Roman temples which he had admired in Palladio. 
Any of his contemporaries would have placed the four- 
column portico across the front, with the pediment inde- 
pendent of the main roof, Although this remodelling 
was abandoned, the temple idea was firmly rooted in 
Jefferson’s academic mind and was further to expand when 
his European trip of 1784-89 gave him the opportunity 
of Studying the Antique at first hand. 

Jefferson spent these European years travelling upon 
diplomatic matters, meanwhile acquainting himself with 
European architecture, of which he wrote and which he 
praised in his letters. On his southern trip, among the 
ancient monuments of Provence, he received the most 
enjoyment. He writes to the Countess de Tesse from 
Nimes: ‘I am immersed in antiquities from morning 
to night. For me the city of Rome is actually existing 
in all the splendour of its empire.” Here in Southern 
France he studied the Maison Carrée, which was to be- 
come the prototype of the Virginia State Capitol. Upon 
the requeSt of the Directors of the Public Buildings in 
Virginia for him to consult an eminent architect for a 
plan for a State Capitol, he began, in 1785, sketches of 
a suitable building in the classic Style of antiquity, using 
as a model the Maison Carrée. Then he consulted 
Clerisseau, the author of ‘‘ Monuments de Nimes,” who 

20 


THE INCEPTION OF THE STYLE 


made criticisms and suggestions which Jefferson incor- 
porated with his own ideas. With modifications from 
the original, Jefferson. produced this classic adoption of 
a Roman hexastyle temple, which was executed at 
Richmond, Virginia, in 1789. As in the sketches for 
the remodelling of the Governor’s house, the portico 


MAISON CARREE, NIMES, FRANCE 


bore a new relation to the building. InStead of being 
flanked by the body of the edifice, as in all cases hereto- 
fore, it alone constituted the entire facade. 

Let us see the extent of Jefferson’s contribution te 
architecture. His reproduction with variations of the 
Roman temple Maison Carree is not quite the Startling in- 
novation that Mr. Fiske Kimball*contends. Asa matter of 
fact, since the beginning of the eighteenth century many 


* Domestic Architecture of the American Colonies and Early Re- 
public, Fiske Kimball. 


21 


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6841 ‘VINIDUIA ‘GNOWHOIY “IOLIdVO ALV.LS VINIOUIA 


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DESIGN FOR A CHURCH IN THE VITRUVIAN STYLE 
BY COLIN CAMPBELL 


Reproduced from Vol. 11, Vitruvius Britannicus, 1731 


23 


ARCHITECTURE OF THE EARLY REPUBLIC 


small garden-temples had been reproduced in the land- 
scaping of English eStates. In volume two of ‘ Vitruvius 
Britannicus’’ Colin Campbell submitted a design for a 
‘“«Prostile Hexastile EuStile”’ church, a design conceived 
between 1715 and 1731, sixty years previous to Jefferson’s 
Virginia State Capitol building although never executed. 
This design isa reproduction of a Roman Ionic temple,and 
so far as the exterior is concerned is similar to Jefferson’s 
endeavours. We find that many realised the posszbz/itzes 
of employing the Roman temple for modern use: the 
credit is due to Jefferson, not for the idea, but for being 
the first actually to build a temple for current require- 
ments other than the tiny garden house, which served as 
sculpture would, in landscaping. The Virginia State 
Capitol is important in that it is the first temple-structure 
erected for a purpose other than that of worship, and it 
is owing to Jefferson’s initiative and desire to realise here 
the antiquities of ancient Rome that this movement was 
introduced into America. His Capitol preceded the 
Madeleine, the first important Roman temple of Europe, 
by twenty-two years. For the first time America led 
Europe in actual erection in a new architectural develop- 
ment, although the zdea had also occurred to the minds 
of European architects. 

Jefferson’s importance as Secretary of State under 
Washington, and as Vice-President and then President of - 
the United States gave him a powerful influence, which 
he exerted in advancing the intereSts of the Classic Revival 
in America. 


Cri rPrER LV 
THE DEVELOPMENT OF THE GREEK REVIVAL 


IV 


THE DEVELOPMENT OF THE 
GREEK REVIVAL 


\ N JE HAVE seen that Jefferson introduced the Roman 

temple type into America. And the temple type 
prevailed. Later and in other hands probably ninety per 
cent of the temples erected were of the Greek orders while 
perhaps ten per cent were Roman, continuing even to the 
end of the period. 

It is of the greateSt interest to learn how this new 
American development became so overwhelmingly Greek 
that it is known by that name. 

It is also necessary to see why the Greek Revival 
domestic architecture of America was an independent 
phase. The Greek Revival itself was universal to all 
European countries: the American domestic expression 
owes its independence to the fact that we adapted and 
built bona fide Greek temples for Aomes and developed 
many innovations. Europeans did not do this, although 
the zdea was not foreign to them: as we shall see they even 
playfully designed, in a few inStances, such houses, but 
evidently with no great expectation of ever building them. 
The description under the plate of such a building con- 
demned it. 

Although Jefferson introduced the Classic Revival 
into America and used his influence to promote it, another 
and even Stronger factor was at work—the Classic Revival 
in Europe, particularly in England. The breaking away 

27 


ARCHITECTURE OF THE EARLY REPUBLIC 


from things English after the Revolution has been very 
much overdrawn. America continued to draw upon 
British architecture through the first years of the nine- 
teenth century. In fact so intently did America continue 
to follow English leadership that as the Classic Revival 
became all prominent in England, so did it through this 
channel find its way to America. 

In England the forces that led up to the classic 
revival began back in the days of Inigo Jones. The 
movement bore definite fruit in the early eighteenth 
century. The development was consistent with the 
constantly increasing data on classic ruins. In 1715 
appeared the first English translation of Palladio by 
Giacomo Leoni, to be followed in 1729 by Colin 
Campbell’s, and in 1735 with the version of Edward 
Hopper. The well known translation by Isaac Ware 
appeared in 1738. Many editions of these various inter- 
pretations of Palladio’s work appeared, indicating the 
desire for knowledge of classic architecture. ‘Thus was 
born the Roman Palladian phase which was to continue 
throughout the eighteenth century. JuSt after the 
middle of the century, many publications of the various 
ruins of ancient Rome appeared, thereby directing 
attention to the magnificence of Roman architecture. 
These publications quickly found their way into Ameri- 
can libraries. 

The birth of the Gree& Reviva/ in England dates ~ 
back to 1762, when Stuart and Revett after exhauStive 


research in Greece published the first volume of their 
28 


THE DEVELOPMENT OF THE GREEK REVIVAL 


famous “‘ Classical Antiquities of Athens” thereby en- 
abling the curious to become familiar with Greek 
architecture. 

The distinction of being the first architect of the 
Greek Revival of all countries belongs to James Stuart, 
the pioneer in Greek research. As early as 1758 he 
designed and built the previously mentioned Greek Doric 


GARDEN TEMPLE AT HAGLEY FOR LORD LYTTELTON, BY JAMES STUART, 1758 
The First Example of the Greek Revival in Europe 


garden-temple at Hagley, for Lord Lyttelton, exhibiting 
his thorough knowledge of Hellenic architecture. This 
little garden-temple, although primarily erected to beau- 
tify the landscape, did have its utilitarian purpose, and 
it is but a short Step to enlarge and partition the ce//a 
for dwelling purposes. This temple at Hagley, the first 
example of Greek Revival in Europe, is the prototype 
of the American Home of the following century. In 
1760 Stuart gave origin to the Graeco-Roman school in 
his design for No. 15 St. James Square. Here Stuart 
29 


ARCHVTEGIURES ORS Horan YaRE EU BELG 


exhibited his versatility by adapting Greek forms to the 
vernacular Style of the Palladian school. The Graeco- 
Roman phase gathered in momentum in 1780 and en- 
dured until 1820. Of all the great English architects of 


NO 15 ST. JAMES SQUARE, LONDON 
BY JAMES STUART, 1760 


The First Example of the Graeco-Roman School 


the eighteenth century, there was not one whose influence 

was deStined to be felt in the succeeding century as was 

Stuart’s. However, he had limited opportunities, as, being 

in advance of the popular trend, his commissions were few. 

At this time the Style of the ‘‘ Brothers Adam ”’ juStly 

controlled the field, not only in England, but also in 
30 


THE DEVELOPMENT OF THE GREEK REVIVAL 


America, far eclipsing Stuart and his contemporaries. Yet 
his pioneer labours instantly acted as a check to the Pal- 
ladian school and somewhat aided the Adam’s manner of 
classical reStraint. 

Of this Graeco-Roman school S. P. Cockerell (1754— 
1827) was particularly interesting, because of his pupil 
Benjamin Latrobe, who came to America to practise in 
the beginning of the century. 

Of the architecture of the Graeco-Roman phase none, 
excepting an isolated example here and there such as the 
Greek garden-temple at Hagley, indicated an under- 
Standing of the spirit of Greek architecture. However, 
much Hellenic knowledge was being circulated and 
absorbed. Public opinion was slowly accepting Greek 
refinement and dignity. The exponents of the Greek 
phase were now devoting their whole attention to the 
transplantation of Hellenic art to England and by 1820 
the movement had gathered its full momentum. 

In the meantime we even find the transition from 
the garden-temple to the temple-home. In 1801 Robert 
Mitchell published ‘‘ Plans and Views in Perspective with 
Descriptions of Buildings.’’ On plate sixteen is illustrated 
a Greek temple with the ce//a of two Stories divided for 
living purposes. But his own comments upon this temple- 
home were highly inStructive as reflecting the English 
attitude throughout their Greek Revival upon this scheme 
of dwelling : 

Whilst the three last plates which are inserted in this work 
are intended to elucidate the three styles of architecture (Greek, 

oT 


ARCHITECTURE OF THE EARLY REPUBLIC 


Roman, and Gothic) they are offered at the same time as designs 
for mansions, or residences of persons of distinction, for which it is 
conceived, they are particularly appropriate, as the form of the 
temple admits of the highest magnificence. The better to render 
this applicable, if such designs should be thought worthy to be 
adopted, the plan, Plate 15, is annexed, in which it will be found 
that convenience has not been sacrificed to external appearance. 
If the designs, Plates 16 and 17, had been intended only toelucidate 
the subject of the styles of the Grecian and Roman architecture, 

: mn 


DESIGN OF A GREEK TEMPLE FOR LIVING PURPOSES, BY ROBERT MITCHELL, 1801 


there would have been a propriety in confining the subject to the 
usual plan of the simple parallelogram or oblong square, with the 
peristyle, but as these designs were likewise intended for mansion 
houses, a deviation from this form has been adopted more suited 
to that purpose, for a design confined to the simple plan of the 
Greek temple would be found as inapplicable to a modern man- 
sion, as the Greek tragedy has been experienced to be unfit for the 
English stage. 


Logically, Mitchell was quite correct; but the fact. 
remains that the American provincial half-baked methods 
happened to develop it into a lovely Style. 

oy 


THE DEVELOPMENT OF THE GREEK REVIVAL 


Here is found, some fifteen years prior to its American 
appearance, the adoption of the Greek temple for the 
requirements of the family. ‘These English publications 
within a few months found their way to America, where 
no such feeling as the temple being inapplicable to dwell- 
ings existed. It only awaited the enthusiast to carry the 
scheme into execution, which when once attempted 
spread like wildfire throughout the entire United States. 
There can be no doubt that Mitchell’s publication played 
a most important réle in America’s adoption of the temple 
dwelling. 

The fact is that the use of the Greek temple for 
domestic purposes did occur to English architects, but 
they felt that it would be inapplicable to this employment 
and the English public abided by their judgment so that 
any Greek temple dwellings, existing in England are 
merely dvagations from the generally current modes. In 
America, on the contrary, the idea was embraced to its 
fullest extent: the Greek Revival became the practi- 
cally universal Style of architecture, and was adapted by 
Americans to all the varied American conditions—extremes 
of climate, extremes of character, temperament, social 
life and means; to every kind of environment and em- 
ploying many local materials. It is an independent 
American development in architedture. 

The British version of classicism was a combina- 
tion of Roman planning and Greek orders and a not 
unhappy ezsemb/e was its result. 

Very soon after the publication in England of works 

a3 


ARCHITECTURE OFFTHE EARLY REPUBLIC 


upon Greek antiquities, we find records of them having 
found their way to America. In 1762 copies of Thomas 


> 


Major’s ‘* Ruins of PaeStum ”’ had been acquired by the 
Library Company of Philadelphia. In 1770 copies of 


Stuart’s ‘¢ Antiquities of Athens’ 


d 


were also to be found 
in the Stock of the same company. America now 
embodied the Greek orders as presented by English pub- 
lications, but did not follow their interpretation of cur- 
rent Hellenic structures. ‘The very antagoniStic spirit 
towards British dominance which sprang up in the first 
decade of the nineteenth century put an end to our con- 
forming to the English architectural tradition which had 
thrived since the earliest colonial days. 

But as in England, our craftsmen were delighted to 
avail themselves of the innovation of using these new 
forms in lieu of the overworked Roman orders. In 1790 
we find the first authentic example of the Greek order 
used in the Thaddeus Burr House at Fairfield, Con- 
necticut. From then on this order was to be adopted 
with a growing popularity. 

Up to near the end of the eighteenth century the 
craftsman or gentleman amateur was alone responsible 
for the architectural design. From then the professional 
architect began to appear in America. The first, receiv- 
ing their education in Europe, migrated to America. 
James Hoban who attended the architectural school of 
the Dublin Society arrived in South Carolina in 1789 
where he erected the State House at CharleSton. Later 
he built the President’s House at Washington. Stephen 

34 


» CONNECTICUT 


Greek order in America 


FAIRFIELD 


THADDEUS BURR HOUSE, 


The First Autbentic Example of the 


35 


ARCHITEGILUREAOR TH HetARLDYSRERUBELS 


Hallet arrived from France in the same year. Benjamin 
Latrobe, of whom I have already written, crossed in 1796 
and exerted a tremendous influence. His design for the 
Pennsylvania Bank had a profound effect throughout the 
country. Latrobe, after severing his relations with 
Cockerell, did a considerable amount of domestic work 
in England before sailing for America. His position was 
unique as an exponent of architectural ideals and tenden- 
cies current in both England and America. He was, in 
fact, one of the Strongest, if not indeed the Strongest, 
architectural link between the Old World and the New 
in his day and generation. He derived his inspiration 
from, and matured it in, England; and then further 
developed his Style in his American practice. George 
Hadfield, one of the first to Study in Rome, was well pre- 
pared to design his well known portico at Arlington, Va. 
As time went on Americans took up the practice and 
joined their ranks. 

Robert Mills and Strickland, both pupils of Latrobe, 
also exerted Strong influence upon the development of the 
Style. Mills did many superb things, most of which, 
unfortunately, have disappeared. His design for the Penn- 
sylvania State Capitol at Harrisburg was a masterpiece, 
and it is much to be regretted that it was never built. 
William Strickland, too, did admirable work, both civil 
and domestic, especially in Philadelphia. 

During this time there also appeared highly educated 
men in affluent circum&tances, men who had travelled in 
Europe and who could devote much of their time to the 


36 


hae DEVELOPMENT OF THE GREEK REVIVAL 


Study and practice of architecture. Their training was 
derived from travel, observation and bibliographical re- 
search. Their architectural masterpieces speak for the 
efficiency of their early self-training. This fact together 
with their amount of work places them in the profes- 
sional ranks. 

Of this class we have Jefferson, L’Enfant, Thornton 
and Bullfinch. Of Jefferson we have heard. Major 
Pierre Charles L’ Enfant, the cultivated French engineer 
arrived from France the end of the eighteenth century. 
He won recognition by his excellent plan for Washing- 
ton, D. C. Doétor William Thornton was born in the 
WeSt Indies in 1761 and educated in London. He 
travelled extensively while in Europe. He arrived in 
Washington in 1793 where he designed the first Capitol 
Building. He exerted an important influence upon the 
architectural field. Charles Bullfinch was born in Boston 
Auigusts3,,1763 and died in 1844. In June 1785 he 
embarked ona pleasure tour of Europe where he took a 
keen intereSt in the architecture of England, France 
and Italy. 

He returned in January 1787, and as he was in affluent 
circumstances, became a dilettante at architecture, first 
helping friends with the planning of their homes, then 
gradually taking up the work asa self-trained professional. 

Although his life extended practically throughout the 
Classic Revival period, we have no data on his professional 
career after 1830, when his services on the National 
Capito] Building were completed. 

Of. 


ARCHITECTURE OF THE EARLY REPUBLIC 
The period of his life from 1818 to 1830 was almost 


exclusively devoted to the execution of Thornton’s plan 
for the Capitol. Therefore it is not surprising to find 
very little trace of the Greek Revival in Bullfinch’s work. 

In 1828 Bullfinch designed the Maine State House in 
the then prevailing Greek Style. 

There are also to be considered the talented craftsmen 
of these days; craftsmen with a natural aptitude, who 
developed their architectural judgment to such a degree 
that they were enabled to successfully compete with the 
professional element and so deserve a ranking in that class. 

Amongst these men were McComb, McIntyre and 
Benjamin. John McComb, born in 1763, ranks first of 
the New York men in his time and day. His work 
includes that architectural gem, the City Hall of New 
York, and St. John’s Church. Samuel McIntyre, a car- 
penter, builder, and a wood carver of ability, designed 
many of the excellent buildings in Salem, Massachusetts, 
in the late eighteenth century and in the first quarter of 
the nineteenth. Asher Benjamin, of Greenfield, another 
carpenter architect, designed buildings in that vicinity. 
Later he moved to Boston, practicing throughout Massa- 
chusetts. He was better known by his popular archi- 
tectural handbooks of which many editions of each 
publication were printed. 

Of less importance were Alexander Parris in New 
England, Thomas CarStairsand Thomas Walter in Phila- 
delphia. Other archite¢ts, although otherwise unimpor- 


tant, are of particular interest because they designed 
38 


THE DEVELOPMENT OF THE GREEK REVIVAL 


domestic buildingsin purely Greek manner. They include 
Elias Carter in New England, Ithiel Towne, M.E. Thomp- 
son, A. J. Davis, George Harvey, J. C. Brady and Minard 
Lafever of New York. 

Lafever indicates the enthusiasm of two of the afore 
mentioned for the Greek manner in his preface of ‘‘ The 
Modern Builder’s Guide’’ 1833. This work is exclusively 
devoted to Greek Revival architecture. “I have also 
consulted several able and experienced architects in the 
vicinity, especially Mr. J. C. Brady (now deceased), and 
Mr. Martin E. Thompson, of this city. The plan of 
this work was sometime since submitted to the inspection 
of these two gentlemen, and they were pleased to say, 
that it met with their entire and cordial approbation.” 

From now on, with the temple Style introduced by 
Jefferson in the Virginia State Capitol and with the 
Greek Doric order introduced in the Burr house, the 
growth and development of the Style was to be persiStent. 
In 1799-1801 Latrobe designed and built the Bank of 
Pennsylvania in the temple form, with Greek Ionic 
orders. In 1819 to 1826 the Bank of the United States 
was built by Latrobe upon the lines of the Parthenon. 
It is of vital intereSt that the Virginia State Capitol 
preceded the Madeleine in Paris, the first of the great 
European reproductions, by twenty-two years and that 
the Bank of the United States antedated the foreign ver- 
sion of the Parthenon, the National Monument at Edin- 
burgh, and the Walhalla at Regensburg by ten years. 

The few architects of this time were interested in 

39 


GANVTAOISNLS WVITIIM Ad GAHSINIA 


‘AMOULVI AUNAH NINVINAd Ad GANDISAC ‘SALV.LS GALINDO AHL AO ANVA 


sitll 


40 


THE DEVELOPMENT OF THE GREEK REVIVAL 


public buildings and it was neither deemed necessary nor 
customary to employ professional advice for domestic 
work, and furthermore, in outlying diStricts the architect 
did not exist. Consequently the home was left to the 
devices of the interested amateur and craftsman, and from 
books and previously erected edifices they copied the order. 

It is indeed intereSting to learn how these two pre- 
vious Statements are confirmed by an author of nearly one 
hundred years ago. ‘‘I consider it necessary that all 
practical house carpenters should be fully acquainted with 
the orders of architecture, particularly those who reside 
in the country, where they have no opportunity of consult- 
ing an architect.’’* The temple form for public buildings 
was before them. In 1817 Jefferson had built Pavilion 
VII for the University of Virginia, a professor’s house with 
a classroom to be sure, but primarily for domestic purposes, 
a Roman Doric temple supported on an arcade. ‘The germ 
of the temple home was thus planted, and together with 
Mitchell’s temple house, in his publication of 1801, the 
idea was fixed in the minds of the amateur designers. 
Furthermore, with little Study of the Greek orders and 
their simple, bold mouldings, these novices could design 
an architectonic dwelling. Their ingenuity with the 
simple requirements then customary enabled them to fit 
rooms within the confines of the ce//a, with the con- 
sequent result that in the twenties these small Greek 
dwellings were springing up everywhere. 


**“The Architect or Practical House Carpenter,” 1830, by Asher 
Benjamin. 


41 


ARCHITECTURE OFs THE EARLY REPUBLIG 


The architect refrained from such a simple expedient 
as not allowing suflicient scope to his imagination. In 
fact it was fortunate for the Hellenic domestic archi- 
tecture of America that there were few architeéts. In 


the hands of amateurs, precisely because of their lack of 


PROFESSOR’S HOUSE, UNIVERSITY OF VIRGINIA, CHARLOTTESVILLE, 1818 
DESIGNED BY THOMAS JEFFERSON 


knowledge, the style developed individuality and created 
America’s independent expression of the Greek Revival. 

On the contrary, by this time in Europe the archi- 
tect was a well eStablished factor and left but few and 
unimportant dwellings in the hands of the amateur. 
Therefore, then, European architects determined the 
national expression and /:ke the American architect avoided 


42 


THE DEVELOPMENT OF THE GREEK REVIVAL 


the cut and dried limitations of the temple plan, as 
exemplified in Mitchell’s contemporaneous criticism 
“‘for a design confined to the simple plan of the Greek 
temple would be found inapplicable to a modern man- 
sion, as the Greek tragedy has been experienced to be 
unfit for the English Stage,” 

In America a radical change in sentiment was gather- 
ing momentum during the first decade of the nineteenth 
century. Up to this time we had been relying upon the 
mother country to form our opinions in literature and 
art. ‘The causes which soon led to the War of 1812 
were rapidly freeing us from this State of mind. Further- 
more the French Revolution, with the resulting dis- 
organisation, brought us a particularly large influx of 
cultivated Frenchmen. The conditions in France were 
such that the emgrés came almost wholly from the edu- 
cated classes. Naturally the influence of French civilisa- 
tion, intensified by the memory of that country’s aid in 
our dark hour, would have a marked influence upon 
America. The architecture of the French Empire was 
marked by an austerity of design and solidity of form 
based upon architectural formulas which America was now 
ready to assimilate. 

It is interesting to note the French influence in the 
dress of the time as related by Mrs. Frances Trollope 
upon her visit to New York in 1829. She remarks that 
French fashions absolutely prevailed, and that in walking 
down Broadway she could scarcely believe that she was 
not in a French town, as she noted the costumes of the 

43 


ARCHITECTURE OF THE ARTY REPUBING 


men and women. It is not surprising then to discover 
French influence in the decorative arts, particularly in 
the fields of furniture and decoration. The architecture 
was synchronous and correspondent with this sway of the 
Empire Styles in furniture. Although the Classic Revival 
is often accredited to the Strong anti-English sentiment 
after the American Revolution, it is rather a matter of 
evolution, as the English Styles persisted for forty years 
and England had by this time adopted the Greek Revival. 

But the War of 1812 together with the sympathy for 
things French marked the complete severance from 
English domination of American thought. In all the arts 
America from now on was to be independent, at least 
independent of England. 

In the first quarter of the nineteenth century there 
arose a coterie of literary lights who attained international 
recognition, of which Washington Irving was the leader. 
With James Fenimore Cooper, William Cullen Bryant, 
and others they were creating a distinétly American 
literature, as were the amateur architects evolving a 
diStinctly American architecture. Expressing the spirit 
of the times, James Kirke Paulding was ranting in his 
writings against any English dominance in political as 
well as literary and artiStic affairs. 

The War of Greek Independence, 1821-1827, gave 
the final impetus to the Hellenic movement. America 
with outstretched arms embraced things Greek in every 
phase of life. Strongly in sympathy with this cause, 
there developed throughout the country a “ Greek” 

44 


Toni DEVELOPMENT OF THE GREEK REVIVAL 


mania. A gentleman from weStern New York declared 
he could furnish, from his sparsely settled region, “ five 
hundred men six feet high, with sinewy arms and case- 
hardened constitutions, bold spirits and daring adven- 
turers, who would travel upon a bushel of corn and a 
gallon of whiskey per man from the extreme part of the 


bf 


world to Constantinople ’’—and within a hundred years 
such sentiment is annihilated by the Eighteenth Amend- 
ment. Our country, it seems, is one of varied moods 
and extreme views, often swayed by sentimentality. To 
such lengths did we go, in the past as now, that then we 
gave our towns Greek appellations. ‘To realise the uni- 
versal extent of Greek enthusiasm at this period it is but 
necessary to review a few of the names adopted through- 
out then civilised America. For instance, examples may 
be cited in various sections; first in the North Atlantic 
States, Alesia and Timonium in Maryland; Euclid, 
Parnassus, and Ulysses in Pennsylvania; Alpha, Athenia, 
and Sparta in New Jersey; Corinth and Troy in Vermont ; 
Milo, Troy, and Athens in Maine; Athens, Sparta, 
Delphi, and Corinth in New York. On the Southern 
Seaboard, Sardinia, Eureka, Troy, and Omega in South 
Carolina; Athens, Ypsilanti, Sparta, and Ionia in Georgia; 
Palmyra, Ionia, and Phoebus in Virginia; Aurora and 
Palmyra in North Carolina, In Florida, not annexed 
to the Union until 1821, such towns as Athens, Eureka, 
and New Troy appear. In the old Northwest, Ypsilanti, 
Ionia, and Scio in Michigan; Bucyrus, Xenia, Adelphi, 
and Omega in Ohio; Attica, Delphi, and Scipio, in 
45 


ARCHITECTURE OF THE EARLY REPUBLIC 


Indiana; Carthage, Troy, Eureka, and Metropolis in 
Illinois; Sparta, Troy, Palmyra, and Ixonia in Wisconsin ; 
Carthage, Palmyra, and Athens in Missouri. In the old 
Southwest, Olympia, Corinth, Eureka, Athens, and Plato 
in Kentucky ; Athens, Delphia, and Sparta in Alabama ; 


ARLINGTON, ALEXANDRIA CO., VIRGINIA 


Corinth, Delta, Eureka, and Acme in Mississippi; Sparta, 
Delta, Homer, and Atlanta in Louisiana. Nothing could 
better illustrate the prevalence of Greek thought through- 
out the States and territories of the Union than the way 
in which names of towns were borrowed from Greece. 

At this time, 1826, George Hatfield added to Arling- 
ton, Virginia, the Doric temple portico, after the temple 
of PaeStum, a composition of six great Greek Doric 
columns ably terminating the commanding vista across 
the Potomac from Washington. 

Nicholas Biddle in remodelling his country house 

46 


THE DEVELOPMENT OF THE GREEK REVIVAL 
at Andalusia, near Philadelphia in 1835, achieved the 


extreme innovation of surrounding his dwelling with a 
colonnade, thus forming a peristyle temple inStead of the 
more frequent prostyle arrangement, It is interesting to 


ANDALUSIA, NEAR PHILADELPHIA, 1835 
The Home of Nicholas Biddle 


note that Biddle, a layman, had been the first known 
American to travel to Greece, in 1806. In England nine 
out of ten architeéts completed their Studies by a visit to 
this land of classic architecture, but America, the devotee 
of the Hellenic phase, found none of its architects able to 
take this opportunity. Therefore, it is not surprising that 
Biddle should be the first to render this radical interpre- 
47 


ARCHITECTURES OF THEsHARLY REPUBETG 


tation. Allthat wasnowessential for the fullfilment of Greek 
ideas was a transplanting of the Parthenon itself for domestic 
usage. This wasrealised in 18 35 at “‘Berry Hill,” Virginia, 
with eight columns in front inStead of the usual four or six. 

During the War of Greek Independence, myriads of 
Greek houses sprang up all over the country, The orders 
and details were carefully reproduced from imported 
reStorations of the Greek orders and from American hand- 


“BERRY HILL,” VIRGINIA, 1835 


books, such as Asher Benjamin’s later editions and 
Minard Lafever’s “‘ The Modern Builder’s Guide,”’ pub- 
lished in 1833. It is interesting to note the conserva- 
tism of Asher Benjamin in his publications. In his 
1816 edition none of the Greek orders are illuStrated. 
In his editions as late as 1856 the Greek orders and detail 
are amply illustrated, but not an example of a Greek 
Revival house is shown and he proclaims: ‘Since my last 
publication, the Roman School of Architecture has been 
entirely changed for the Grecian.”’ “The Architecteors 
Practical House Carpenter,” 18 30. 
Lafever now takes the foreground in American pub- 
48 


FRONT ELEVATION FOR A COUNTRY RESIDENCE, 


can hts i RRS Bis Sn mete a ohare OR Nar TD ate ae en ees Setar 


ELEVATION FROM ““THE MODERN BUILDER’S GUIDE”, 1833, BY MINARD LAFEVER 


49 


ARCHITECTURE OF ‘THE EARLY REPUBLIC 


lications and illuStrates plans, sections, and elevations of 
the typical Greek home of the day and in his successive 
editions illustrates additional houses. Lafever and the 
later Benjamin editions disregard Colonial detail and 
devote their plates to Greek detail, including that of 
doors, windows, cornices, trims, etc. A quotation from 


FROM ‘‘THE MODERN BUILDER’S GUIDE”, 1833, BY MINARD LAFEVER 

Lafever expresses the independence of the American 
mind towards British architecture: ‘‘ From the work of 
Mr. Nicholson of London I have received a greater 
amount of aid than from any other source. (This was a 
treatise on geometry and contruction and not on archi- 
tecture.) The only other authors to whom I owe ac- 
knowledgement are Messrs. Stuart and Revett of London, 
from whose highly valuable and popular work, entitled 
‘The Antiquities of Athens,’ I have borrowed the arti- 
o 


cle relating to the ‘Ancient Orders of Architecture.’ 
50 


CHAPTER V 
MATERIALS AND ARRANGEMENT 


Vv 
MATERIALS AND ARRANGEMENT 
Re. and wood as building material continued in 


use from the preceding Colonial period ; the frame 
building, as previously, greatly predominating. The wood 
siding was frequently used on the principal facade with 
boards laid with flush joints instead of clapboards. Shingles 
for sidewall coverings were completely discarded. The 
usual pilaster at the corner successfully butted the clap- 
boards, and if the pilaster did not exist, corner boards 
were introduced, as the clapboards were not mitred at 
the corners. After 1800 a great vogue for Stucco began 
and continued throughout the period. It was often 
ruled to imitate ashlar or marble. Brick loSt in favour 
and when employed was painted a light grey to effect 
Stucco. Cut Stone, practically unused before 1800, 
became a not uncommon material in the large cities of 
the Northern Seaboard and in the country communities 
adjacent to Stone quarries. Occasionally marble was 
employed. Cast iron for the first time came into general 
usage and became one of the prominent materials of the 
period. Elaborate Corinthian capitals, columns, trellises, 
railings, window grilles, and other ornaments cast in iron 
became common features and were probably the most 
delightful artistic expression of the nineteenth century. 
In plan the flexibility of arrangement seen in the 
houses preceding the temple type had to be subordinated 
to classical symmetry. The entire mass now being the 


53 


FIRST FLOOR PLAN OF A COUNTRY RESIDENCE FROM LAFEVER’S ‘THE MODERN 
BUILDER’S GUIDE”, 1833 


VAN NESS MANSION, WASHINGTON, D.C. 


54 


MATERIALS AND ARRANGEMENT 


first and greateSt consideration, convenience and interest- 
ing planning were necessarily sacrificed although many 
ingenious arrangements were evolved with the aid of 
the supplementary side-wings, as seen in the plans from 
Minard Lafever’s ‘“‘ Modern Builder's Guide.’ In its 
simplest form, the small four-column temple-dwelling, 
the removal to one side of the ideal centre doorway was 
required so as to allow for a room across the remaining 
two bays. In the Van Ness House, Washington, 1813- 
1819, a one-story four-column portico was brought out 
from the entrance doorway, of sufficient depth for a 
carriage to drive under. This porte cochere was to become 
an indispensable feature of any home of any pretensions 


in the last half of the century. 


CHAPTER VI 
VARIATIONS AND STRUCTURAL DETAILS 


VI 
VARIATIONS AND STRUCTURAL DETAILS 


NIG... modifications of the Greek temple appeared 
everywhere, particularly west of the Alleghanies. 
But the moSt distinctive variation was in the Southwes, 
where a cubical house preceded by a row of columns 


ried) 


uPA SCIIRUINGS OT NERNS Lm Re 


Ire: 


HOUSE AT MONTGOMERY, ALABAMA 


was without a pediment or roof, as in the accompanying 
illustration of a house at Montgomery, Alabama. It was 
in this form of the Greek Revival that the connois- 
seur first recognised the merits of the Style, and these old 
Southern plantation houses won favourable recognition 
years ago. The SouthweSt was never carried away with 


’ 


the ‘‘temple home”’ type, but contented itself with the 


colossal Greek colonnade and Greek detail. Undoubtedly 
59 


ARCHITECTURE OF THE EARLY REPUBLIC 


this mode was due to the influence of the preceding 
period, when the desire to screen a flat roof from view 
was paramount. It is not Strange then that these Greek 
Revival Southern homes should usually be known to the 
uninitiated as ‘‘ Southern Colonial.’’ * 

Occasionally an odd number of columns composed the 
portico, as in the Van Vorst mansion in Jersey City, 
now demolished. Another deviation in the North was 
the addition to the temple proper of two well subordi- 
nated wings at right angles to the axis of the main build- 
ing, as shown in Lafever’s plate here reproduced. It is 
in this form that many intereSting variations occurred, 
and the chef d’ceuvre of the North are to be found. 
Much greater flexibility in planning and a graceful 
piling up of the composition to the central mass were 
attained in this solution of their problem. In the largest 
residences the scheme was carried a Step further, with 
the transverse wings terminating with subordinated pa- 
vilions with colonnades and pediments parallel to the 
main body, producing a well-balanced and monumental 
three-part composition. 

Frequently but one transverse wing was added, indica- 
ting the freedom of the designer from the shackles of the 
Style; but the result was unbalanced, showed an unfin- 
ished composition, and was not satisfactory. 


*Many of those Classic Revival houses are illustrated in one of the 
first comprehensive works on Colonial Architecture, “The Georgian 
Period. A collection of papers dealing with ‘Colonial’ or XVIII 
Century Architecture in the United States” 1899, although they belong 
to this later Period of 1820 to 1850. 


60 


Mtn Raoo 


DESIGN FOR A COUNTRY VILLA FROM LAFEVER’S ‘THE MODERN BUILDER’S GUIDE”’, 1833 


61 


ARCHITECTURIGOF THE EARLY REPUBLIC 


The temple Stripped to its simplest form, that of 
the ce//a, appeared without the portico, The flat gable 
was retained on its narrow end, which was towards the 
Street. The full Greek entablature was carried around 
the entire house. Often this type had one or both low 


transverse wings similar to the appurtenances of the 


THE LOUIS HALL HOUSE, OSBORNE, MICHIGAN 


colonnade-temple described above. It is to be recalled 
that a long, narrow Colonial house would have its broad 
side toward the Street, in contradiction to the narrow 
front of the Greek house. 

Another amusing and not uninteresting interpretation 
of the temple-body with subsidiary side-wings was 
evolved, as in the Louis Hall House. The wings were 
each roofed with a half-pediment butting against the 


central wing, so that if the central wing were taken 
62 


VARIATIONS AND STRUCTURAL DETAILS 


away and the wings pushed together, a perfect pedi- 
mented building would be formed. 

The circular-head window, popular at the beginning 
of the century, was practically abandoned, but the flat- 
headed triple window which came into vogue in 1810 


i ee a ae 


TRIPLE WINDOW, 1109 WALNUT STREET 
PHILADELPHIA 


frequently appears. It was of pleasing composition and 
proportion; an excellent example was 1109 Walnut Street, 
Philadelphia, now demolished. The casement window 
running to the floor of the portico often occurs, used some- 
times with casement sash and sometimes with triple sliding 
sash. Another innovation is the ‘“‘frieze’’ window in the 
entablature just under the eaves. As we shall see, the full 


Greek entablature encircled the building, and the wide 
63 


ARCHITECTURE OF THE FARGY REPUBIIG 


frieze suggested the possibility of windows of the depth of 
this frieze. This expedient was quickly adopted to light 
and ventilate the otherwise useless attic space. To make 
this small, shallow window seem a part of, and decoration 
of, the frieze, either a cat iron or carved wood grille was 
fitted flush with the face of the frieze. 

The narrow window frame in brick walls with a four 
inch brick reveal was retained after its adoption in the first 
years of the century. The sash-bar wasreduced to its mini- 
mum width, producing very delicate divisions of the sash. 

The brick opening of the windows was perfectly plain 
with flat arches, although Stone lintels, often moulded and 
decorated, were prevalent. As the period progressed, the 
Stone lintel became more common, assuming heavy pro- 
portions and with overdecorated detail as the Style 
declined. In some in&tances the brick courses were 
carried through over the window-head without arch or 
lintel. Often the window of the main Story had a Stone 
architrave of a simple band, not moulded, with elaborate 
lintel, generally supported by consoles. 

The usual form of doorway included sidelights with 
a squared transom, although it was not exceptional to 
find elliptical or circular transoms or no transom at all. 
Other variations are many, from the simple door en- 
framed with architrave to the door crowned with squared, 
elliptical, or circular transoms, as the doorway at 1107 
Walnut Street, Philadelphia. Doorways were frequently — 
framed with square antae with intermediate columns on 
axis with the mullions of the side lights, as in that of the 

64. 


DOORWAY OF MACKAY HOUSE, WILLSEYVILLE, NEW YORK DOORWAY, 1107 WALNUT STREET, PHILADELPHIA 


ARCHITECTURE OF THE EARLY REPUBLIC 


Mackay House. Often the square antae framed the simpler 
doorway without the intermediate columns. Then too 
they were framed with fluted and reeded architraves 
with corner blocks and centre blocks in place of the 
key, as in the accompanying illustration of a doorway at 


PORTICO ENTRANCE, ANDALUSIA, NEAR PHILADELPHIA 


Portsmouth, N. H. In the simple, unadorned doorways, 
as that of Professor Seymour’s house at Hudson, Ohio, 
engaged or freeStanding columns flanked the entrance, 
with an entablature, generally without the pediment. 
When, however, four columns flanked the doorway, the 
pediment was more often employed, as in the portico 
entrance to Andalusia. In the Northwest, further varia-— 
tions are noted as in the doorway at Unionville, Ohio, in 
which a remarkable use is made of consoles the height of 


66 


A DOORWAY AT PORTSMOUTH, N. H. 


DOORWAY OF 


“a 


tyriyyy 


pr 


<3 


eee 


PROFESSOR SEYMOUR’S HOUSE, HUDSON, OHIO 


ARCHITECTURE OF THE EARLY REPUBLIC 


the transom, supported by the columns, and terminating 
in square corner-blocks, In the Cox House at Dresden, 
Ohio, the panelled lintel reSts on the Stone vosozrs which 


enframe the otherwise plain jamb. Another amusing 


DOORWAY, TREAT HOUSE, AURORA, OHIO 


innovation is found in the Treat House at Aurora, Ohio, 
in which an elliptical transom has bands of Stars inter- 
spersed with reeding in lieu of the usual fan light. 

In a few of the more pretentious houses the Greek 
columns were of heavy, ancient proportions, but in the 
majority of cases they were somewhat attenuated. This 
practise was advocated by Asher Benjamin in his publi- 


cation of 1830, particularly when applied to private 
68 


DOORWAY OF THE COX HOUSE, DRESDEN, OHIO 


A DOORWAY AT UNIONVILLE, OHIO 


% 


ARCHITECTURE, OF "TTiE *‘KARLY REPUBLIC 


houses. ‘I confess myself to be an admirer of Grecian 
architecture, yet Iam not disposed to condemn the general 
proportions of the Roman orders, none of which, except 
the Doric, differ essentially from those of the Grecian. 
The column of that order was generally made, by the 
Greeks, about five diameters in height; but the same order, 
by the Romans, from seven and a half to eight diameters 
in height. It is, therefore, evident that the latter propor- 
tions come nearer to our practice than the former one, 
especially when the orders are used in private houses. The 
members of the Grecian columns and entablatures, how- 
ever, are certainly better proportioned to each other than 
those of the Roman.’’* Often square piers or antae are 
employed in lieu of the column, as they were much less 
expensive to produce. As we have seen, the Greek Doric 
order was the first introduced, and it continued in favour for 
many years. About 1830 the Greek Ionic gained preced- 
ence, and in the middle thirties the Corinthian of the 
Lysicrates type came into vogue, following the Striking 
example on the exterior of Girard College, 1833-47. 
The almoS&t invariable characteristic of the Hellenic 
phase was the complete surrounding of the building with 
the full entablature, in contradiction to merely carrying 
the cornice around, as in Colonial work. This character- 
istic will almoSt invariably determine this period even 
if none other is apparent. ‘The mouldings were bold and 
heavy in Strict accordance with the Greek profile. To 
quote Asher Benjamin, “these latter (Grecian mouldings) 


*’T he Architect or Practical House Carpenter,” 1830, Asher Benjamin. 


70 


LE HRB SERA SASRSAEEN : 


GIRARD COLLEGE, PHILADELPHIA 


Thomas W. Walter Architect 
An early example of the “Monument of Lysicrates type’’ of capital which created favour for this order during the last years of the style 


7X 


ARCHITECTURE OF THE EARLY “REPUBLIC 


are composed of parts of ellipses, parabolas, hyperbolas 
and other Ionic sections, and consist, mostly, of /arge, bold 
parts, which are so Strongly marked, that each member 
of the profile is plainly seen at a very considerable dis- 
tance.’’* The cupola, adopted in the eighteenth century, 
continued in use. Well designed ones were a common 
feature, and are to be found throughout the entire terri- 
tory of the period, particularly in the large houses of the 
old SouthweSt and of the North Atlantic Seaboard, as at 
Vesper Cliff, Oswego, N. Y. 

The interiors were marked by simple wall-surfaces 
with attention concentrated upon Structural members and 
functional necessities, such as doorways, windows, fire- 
places and the centre-pieces of ceilings. Panelling was 
not included in the scheme of decoration. Even the dado 
was omitted in favour of big, broad surfaces. As in the 
exterior, the full entablature was carried around the room. 
The rooms were not isolated, but opened into each other, 
partially screened by pilasters, columns, and entablature. 
The effect of Stateliness was produced at the expense ot 
intimacy. The interiors were bold and dignified, com- 
posed of Straight, severe lines with heavy detail. ‘The walls 
were severely plain plastered surfaces. The rooms were 
high studded with a carefully arranged disposition of 
windows, doorways, and chimney-piece. ‘The doorways 
were wide, and together with the column partition the 
principal rooms of the first floor opened into each other | 
with extensive vistas, but with a consequent lack of 


*°The Architect, or Practical House Carpenter,” 1830, Asher Benjamin. 


72 


VARIATIONS AND STRUCTURAL DETAILS 


privacy. The interiors displayed not a little Stateliness 
and grace and lent themselves to large gatherings with 
the decorous formality which went hand in hand with 
cultivated taStes and the rigorous thought of the time. 


VESPER CLIFF, OSWEGO, N. Y. 


The chimney-pieces were often of black marble with 
plain Doric pilasters or engaged columns without the 
over-mantel of Colonial days. Door and window archi- 
traves were fluted, reeded, or a combination of both, 
with full contour of ingenious silhouette, symmetrical 
upon a central axis. It was successfully terminated at the 


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aide Eeootek 


VARIATIONS AND STRUCTURAL DETAILS 


corners by inserting square blocks, which were turned 
or carved in bold relief. Sometimes the head-trim was 
of different section than that of the jamb-trim, by which 
means intereSting variety was introduced. Frequently a 
long middle block in lieu of a key was substituted, this 
being carved in relief. Strangely enough this trim was 
far from Greek in derivation, but it was one of the 
products of the Style and harmonised perfectly in its 
setting. It long outlived the Greek Revival and continued 
well throughout the laSt half of the century, to its 
ultimate detriment and subsequent unpopularity. The 
wide range of method and varied silhouette of this form 
of enframing an opening will ensure its rebirth in the not 
distant future. 

As previously mentioned undoubtedly the outstanding 
decorative feature of the Style was its ornamental cast iron, 
which heretofore had been used only in rare inStances but 
was to continue in popularity long after the period had 
drawn to a close. 

The casting of molten iron into ornamental shapes 
was done in Sussex, England, as early as the fourteenth 
century. It gained no vogue, however, and was rarely 
utilised. During the eighteenth century, cast iron, because 
of its character, found usage in the vase-shaped finials 
surmounting the Standards of the wrought-iron railings. 

Isaac Ware in his ‘‘ Body of Architecture” 1756, 
page 89, remarks: 


Cast iron is very serviceable to the builder and a vast expense 
is saved in many cases by using it; in rails and balusters it makes 


2 


CAST IRON BALCONY AT ATHENS, GEORGIA 


VARIATIONS AND STRUCTURAL DETAILS 


a rich and massy appearance when it has cost very little, and when 
wrought iron, much less substantial, would cost a vast sum. But, 
on the other hand, there is a neatness and finished look in a 
wrought iron that will never be seen in cast, and it bears accident 
vastly better. 

The first architectural work wholly of cast iron was 
the seven great gates for St. Paul’s churchyard in London, 
in the first quarter of the eighteenth century. It was 
not, however, until one hundred and ten years later, with 
the advent of the Classic Revival, that cast iron came 
into great popular favour, to the practical exclusion of the 
wrought metal. The appearance of the Steam engine, 
1760-1770, and of the railroad, in 1825, gave to the 
iron-foundry industry a great impetus, and the process of 
manufacture was brought to perfection in 1860. 

During this period ingenious ornamental casting ap- 
peared throughout the country. In contrast to the refined 
and attenuated wrought shapes of the preceding period 
there was seen Greek rendering of classic motifs, robust 
designs in splendid scale with the monumental character 
of the architecture. The caSt-iron work in the first sixty 
years of the nineteenth century is not only the most 
artistic expression of the century, but an expression that 
will Stand comparison in the entire field of American deco- 
rative arts. In the sixties the design degenerated rapidly 
into realistic expression and inappropriate usage. 


With the extensive growth of scientific inveStigation 
in the second quarter of the nineteenth century, the pre- 
ponderant interests of the cultivated public and of its 


ad, 


ARCHITECTURE OF THE EARLY REPUBLIC 


creative minds swung away from artistic creation to that 
of scientific development. The great induStrial revolution 
of the nineteenth century diverted to itself moSt of the 
creative energy which for many years past had found 
expression in artistic form. Robert Fulton and Samuel 
F. B. Morse are such examples of the spirit of the 
century: men who began their careers as painters, and 
who left examples of their work which bespeak of their 
skill in an art which was later crowded out of their 
lives to make way for their better known scientific 
contributions. 

As this scientific and industrial movement gained its 
full momentum about 1850, and creative minds were 
turned in its direction, the arts waned and the Greek 
Revival drew to a close, to be followed by a second 
““Moyen Age.” It is interesting to learn the disrepute 
into which a quarter of a century later the period had 
fallen, a disrepute itself due to the almoS&t universal bad 
taSte into which the country unhappily had lapsed. Daniel 
Ricketson in 1873 wrote as follows: ‘“ The house (Joseph 
Rotch house about 1823) was much injured in appearance 
by its heavy Tuscan (undoubtedly Greek Doric) columns 
of wood, a fashion improperly adopted from the temple 
architecture of the ancient Greeks and Romans, but now 
abandoned in private buildings, for which we are indebted 
in a great measure to the judicious criticism of the late 
Andrew J. Downing.” Again he writes, “ Our court. 
house (New Bedford) was built about the year 1830 at 
the time when the pseudo-Greek style of architecture was 

78 


VARIATIONS AND STRUCTURAL DETAILS 


in vogue. It is a substantial Structure of brick and inter- 
nally well arranged and comfortable, but the heavy Tuscan 
(Greek Doric) columns of wood disfigure it greatly.” 
Thus continued the condemning criticism which, begun 
in 1842 by Andrew Jackson Downing, has remained in 
vogue until recently. In 1848 Mrs. L. G. Tuthil spoke 
of the “‘ Greek Mania’’ as having passed. However, one 
may well wonder how much the Greek Revival has to 
do with the present Classic Revival which began in the 
nineties. Certainly there are today many Strivings similar 
to those of one hundred years ago. 


SaArlTER VII 
THE DEVELOPMENT WEST OF THE ALLEGHANIES 


VII 


THE DEVELOPMENT WEST OF THE 
ALLEGHANIES 


HE close of the American Revolution found the 
United States in ownership, by the treaty of peace 
with England, of a vast tract extending westward from 
the Alleghanies to the Mississippi, and northward to 
Canada and the Great Lakes. The section lying north 


LOG CABIN AT LOGAN ELM, OHIO 
Authentic and typical log cabin of the early western settlers moved from a near-by farm to its present location 


of the Ohio River, the Northwest of the young Repub- 
lic, is now popularly known as “The Old Northwest.” 
The tract from the Ohio River south to the Gulf is 
similarly known as “ The Old Southwest.” 

Prior to the war, settlers had begun invading these 
Indian lands west of the Alleghanies. Within a few 
years after the successful termination of hostilities, 
immigration began at an extensive rate and the move- 


ment of “ Westward Ho!”’ had begun. However, the 
83 


ARCHIVECTURE OF THE HARULY REPUBLIC 


danger of Indian uprisings was ever present, and these 
frontiersmen were forced to devote as much time to arms 
as to the plough. The frontier home was a primitive 
affair of log walls and rarely of larger size than single 
length logs would permit. On an average they were 
from twelve to fourteen feet wide and from fifteen to 
eighteen feet long. Sometimes these cabins were divided 
into two rooms, with an attic above, but frequently there 
was but one room. The logs were halved together at 
the corners, and the space between filled with moss or 
clay or covered with bark. In the earlieSt times the roof 
was of bark; later on shingles were used. 

It was not until the close of the War of 1812-1815 
that the country was freed from Indian disturbances and 
the settlers were enabled to devote themselves exclusively 
to their own advancement and profit. With peace a swift 
revival of immigration again swept over the country 
and upon a heretofore unprecedented scale. By about 
1820 many of the settlers had acquired sufficient means 
to consider suitable homes, also many in this second 
wave of migration came prepared to build, not cabins, 
but houses. The West was now ready to develop an 
architecture. 

It was at this time, when szgration to the We&t was 
in full swing, that the Greek Revival had gained its 
great momentum along the seaboard. The parallel goes 
further—the frst beginnings of the Greek Revival had 
been contemporaneous with the frs¢ extensive immigration 
into the new territory. We can conclude that the develop- 


84 


DEVELOPMENT WEST OF THE ALLEGHANIES 


ment of the We&t and the Greek Revival were born 
simultaneously, and together reached maturity. 

As the Wet ceased to be a frontier development, the 
rude log cabins and stockaded trading-posts gave place 
to architecturally Studied houses and villages, and it was 
natural,too, that the trading, professional,and land-owning 
classes, following close upon the heels of the first hardy 
trappers and settlers, should introduce the architectural 
characteristics of the sections from which they came. 

America was not only creating an individual archi- 
tecture, but she was creating different expressions in each 
of the four great sub-divisions. At no time in the archi- 
tectural development of the nation was there such a 
distinct line of demarcation as between the Greek Revival 
of the old Northwest and the old SouthweSt upon a line 
marked by the Ohio River. 

The Streams of migration into the Northwe&t flowed 
from many sources. New England contributed heavily to 
Marietta, Cincinnati, and many rising river-towns on the 
Ohio. That part of Ohio on Lake Erie drew largely 
from Connecticut. Many Pennsylvanians migrated west 
through their State to eastern Ohio. Virginians and 
Carolinians came through Kentucky to southern Ohio 
and Indiana. Thus the Northwest territory became a 
melting pot of the Colonies. The settlers from the 
Virginias and the Carolinas and Kentucky were of little 
education or were even illiterate. Indeed, many of them 
had sought the Wet to escape a society in which the dis- 
tinction of birth had put them at a disadvantage. . The 

85 


ARCHITECTURE OF THE EARLY REPUBLIC 


settlers from New England were as a rule people of some 
education. 

The Southwest, accessible from the Southern Sea- 
board, was settled by immigration from Maryland, the 
Virginias, and the Carolinas, with a French influence 
along the lower Mississippi from the old province of 
Louisiana. 

There was a time when the frontier folk of the trans- 
Alleghany country from the Lakes to the Gulf were much 
alike —all pioneer farmers and Stock-raisers absorbed in 
the conquest of the wilderness. But by 1820 the situation 
had altered. Under the play of climate and industrial 
forces, the We&t had divided into a North and South. 
Climate, soil, the cotton gin, and slavery combined to 
make of the Southwest a great cotton-raising area of large 
plantations, interested in the same things and swayed by 
the same impulses as the Southern Seaboard. Wealthy, 
educated planters with great retinues of slaves were mi- 
grating to this rich cotton-belt from the southern tide- 
water States. ‘Their manners, customs, and institutions 
were transplanted beyond the mountains. There was the 
same political rivalry between the slave-holding planters 
of the ‘ Blue Grass’’ and the “‘poor whitesmana mene 
mountain districts that there was in Virginia between the 
tidewater planters and the mountaineers. Onthe contrary, 
economic conditions made the Northwest a land of small 
farms, free labour, town-building, and diversified manu-_ 
factures and trade. 


The Southerners of Kentucky and Tennessee migra- 


86 


DEVELOPMENT WEST OF THE ALLEGHANIES 


ting north of the Ohio were of the poorer whites, the 
more democratic non-slave-holding Southern element. 
The New Englanders who migrated were mainly those 
having difficulties in making ends meet; poor, discon- 
tented, restless, without influence, and needing only the 
incentive of cheap lands in the West to sever the slender 
ties which bound them to the East. 

Even amongst the first of the Southern pioneers 
there is reference to slaves being brought into the South- 
weSt, which fact was soon to effect the prosperity of this 
territory and to create the cleavage between the North 
and South. This cleavage began with the opening of 
the nineteenth century. The slave enabled the planter 
in the cotton-belt to operate extensive plantations and 
quickly to attain wealth undreamed of by the Northern 
pioneers. This wealth in turn allowed the Southern 
gentlemen to build homes of suitable importance. On the 
other hand the Northerners, lacking slaves and the 
rich agricultural soil of the South, their prosperity was slow 
and limited, which reflected in their homes, which were of 
a most modeSt character. Everyone is familiar with the 
large so called ‘‘ Colonial’ houses of the old Southwest, 
but very few indeed are acquainted with the contempo- 
raneous houses of the old Northwest: this is because of 
the palatial character of the Southern house as compared 
to the modest character of the Northern one. Even the 
Georgian Period includes within its scope of Colonial 
architecture much of this Southwestern work of the 
Greek Revival. An idea of the palatial character of a 

87 


c 


ARCHITECTURE OF THE HARLEY REPUBLIC 


typical residence of the time may be gleaned from 
a quotation from the Brickbuilder of 1904: ‘ ‘The 
Cochrane Place,’ what a scene of hospitality this name 
must bring to the mind of the old inhabitant, who per- 
chance was a gueSt there in the old days. It was built by 
Dr. William Cochrane in 1840. The shafts of the Cor- 
inthian columns were brick and the fluting zz sztu, the 
large capitals being of caSt iron. Each column is said to 
have cost the owner six hundred dollars. The door knobs 
and escutcheons were until recently of Sterling silver.” 
Nothing upon such a scale was even thought of in the 
Northwest, but the Southwest was filled with such 
palatial homes. The Southerner almost invariably adopted 
the Style of the Classic Revival, unlike the Northwest 
where Colonial buildings were being erected hand in 
hand with those of the Classic Revival. The Southerner 
resorted to a predetermined plan and exterior composi- 
tion of two Stories with the colossal colonnade. The 
hall ran through the house with rooms on either side 
and its kitchen and service in outbuildings—an idea 
borrowed from the Southern colonies. ‘The composition 
was a box-like mass with a row of six or eight columns 
across the front, without the usual pediment found 
throughout the East, as shown in the accompanying 
illustration of the house at Tuskegee, Alabama. With 
this almoSt universal composition it is remarkable that 
these buildings should show such rich variety. It would 
seem, with an accepted plan and two-Story composition | 


of portico, that one plantation house would bear close 
88 


DEVELOPMENT WEST OF ‘THE ALLEGHANIES 


resemblance to any other, but on the contrary there was a 
great variety in expression. Although the “ Greek Ma- 
nia’’ was manifest in the Southwest it only affected their 
architecture to the extent of including Greek orders and 
detail with the Roman. The temple form of home was 


studiously avoided. The Southwest, in its architectural 


HOUSE AT TUSKEGEE, ALABAMA 


expression, Stood aloof from the rest of the country. In 
this Greek Revival phase they contributed another 
national expression in architecture. America’s national 
expression in the temple home may be criticised as ‘ out 
of character,” but the national architecture evolved in 
the SouthweSt was admirably ‘in character ”’ with its set- 
ting and semi-tropical climate. With such appropriate 
tradition, it seems poor taSte for Florida to succumb to the 
grotesque imitations of Spanish archite¢ture so totally at 
variance with our Anglo-Saxon temperament. We might 
89 : 


ARCHITECTURE Os THReHARLY REPUBLIC 


better “‘ carry on’’ our inheritance of this semi-tropical 
American type of architecture. 

The Southerner took many liberties with the order. 
The height of the entablature was often reduced and the 
columns attenuated. It was not uncommon to omit the 
architrave in carrying the entablature around the building. 
This feature was unlike the earlier method of merely 
carrying the cornice through and differed from the full 
entablature carried around elsewhere. Porches and bal- 
conies for each floor, as in the houses of eighteenth cen- 
tury Charleston, were very desirable for the climate of 
the South. The Southerner of the nineteenth century 
often carried on this Charleston tradition by inserting 
second Story balconies between or just behind the columns, 
the full width of the colonnade, allowing the ‘ Colossal ”’ 
order to run the height of the building. If this was not 
done a small balcony almost invariably projected over 
the centre doorway. ‘These well shaded second floor 
balconies furnished a cool retreat during their tropical 
summers. 

The side walls were without pilasters or other decora- 
tion and were neglected to allow their luxuriant vegeta- 
tion to screen them, both from the eye and from the rays 
of the sun. Often, however, a colonnade completely 
encircled the building. ‘To further insure cool interiors, 
very high Studded walls prevailed. The first floor was 
located from one to five feet above the ground level. The | 
larger houses in the country were all of two Stories. 

An interesting exception to the general arrangement 

go 


DEVELOPMENT WEST OF THE ALLEGHANIES 


is Gainswood at Demopolis, Alabama, built by General 
G. B. Whitfield. The composition, a main body with 
subsidiary wings and porches, was carefully Studied, 
and the result is successful and intereSting from all four 
sides. The plan also deviated from the accepted type by 
employing a mezzanine floor. Undoubtedly we can 
account for this departure as due to the efforts of one of 
a party of educated Frenchmen, exiled from the Court 
of Napoleon, who sought refuge on our shores. The 
Federal government granted them a large tract of land 
in Demopolis on condition that the vines and _ olives 
should be cultivated. 

Alike in both the NorthweS&t and Southwest, outside 
of a very few important buildings, the houses were built 
without architects, the owner or builder himself acting 
as the designer; and the homes they evolved portray 
their character. The rare inStance of an architect being 
employed in an outlying district is found in the President’s 
house at the University of Alabama at Tusculoosa. This 
was due to the fact that the house was one of the units 
of amonumental scheme. Mr. Nichols, an Englishman 
then of Philadelphia, was brought to Tusculoosa by the 
State to do the State Capitol and the University buildings. 
The professional touch is evident in the basement Story, 
an unusual feature of the period, which supports the 
colossal Ionic order. 

In the Northwest since economic limitations were 
great, utilitarian considerations were of first importance. 
Ingenuity was not Stifled by lack of affluence, and we 

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chee 


ScTeCURR eS ease 


DEVELOPMENT WEST OF THE ALLEGHANIES 


find widely variegated types of plan and elevation in homes 
suitable to small farms and villages because of the inven- 
tion displayed by those of fragile means. It is in this 
greater freedom and variety of design that the Northwest 
varies from the other three territories embracing the 
Greek Revival. 

The Southern whites in the Northwest were of 


SINGLETARY HOUSE, STREETSBORO, OHIO. ABOUT 1835 
Illustrating the continuance of the Colonial phase in the Northwest after its end in the East 


the illiterate class, while emigrants from the North were 
generally educated. It is not surprising then to find the 
Northern settler determining the architecture, while the 
Southerner played no part in this development. 

The early settlers in this territory had left the East 
before the Greek Revival had gained precedence and for 
the moSt part they were totally unfamiliar with it, being 
only conversant with the preceding Colonial Styles of the 
seaboard. Furthermore they were acquainted with, and 
could easily acquire architectural handbooks of the day, 

93 


ARCHITECTURE OF THE EARLY REPUBLIC 


handbooks that were now quickly losing their earlier 
popularity in the East. They, therefore, built Colonial 
homes, as the Singletary house at Streetsboro, Ohio, and 
the doorway of the house at Claridon, Ohio, that savour 


A DOORWAY AT CLARIDON, OHIO 


Illustrating the Colonial Adam phase of the West persisting after 
its end in the East 


Strongly of New England and the northern seaboard 
States. ‘They were even building these houses after 1820 
when the Style was practically dead in the East, and 
continued this practice until the middle of the century. 
It was an Indian Summer of Colonial architecture. 
Probably it persi$ted as late as it did in the WeSt because 
of a natural desire of the settlers to surround themselves 
94 


DEVELOPMENT WEST OF THE ALLEGHANIES 


with an environment reminiscent of the towns and vil- 
lages from which they came. 

The arrivals of the second wave of emigration, after 
the War of 1812-1815, were familiar with the Greek 
Revival which had taken such a Strong hold along the 
seaboard, and it was they who were to carry and intro- 
duce this Hellenic movement to the Northwest. In 
building they selected the now fashionable Style of the 
East, and this Style quickly found root and began to 
flourish. The hardy settler because of difficult and ex- 
pensive transportation muSt needs resort to means and 
materials at hand. The Greek orders and details were 
followed, but the expression was free and the motifs varied. 
The temple-type of dwelling was not the universal ex- 
pression as it was in the Northern Seaboard. As far as 
possible materials on the site or in the community were 
employed, and a great variety of them were used in the 
building. 

This lack of transportation at the beginning of the 
century was the greatest handicap to building. The 
government, realizing the necessity of a highway to the 
WeS&t for promoting national unity and Strength, con- 
ceived a route Starting at Cumberland, Maryland, passing 
through the Alleghanies to Wheeling on the Ohio River, 
and hence across the State. By 1818 it was opened to 
Wheeling; Columbus was reached in 1833, and Indian-~ 
apolis about 1840. This artery, known as the National 
Road, has long since loSt its importance; but then it was 
the connecting link between the East and the West and 

95 


ARGHITEGTUREV OF THE MARLY REPUBLIC 


up to 1860 was teeming with traffic. In 1825 the 
Erie canal had been opened and these two routes of 
travel at last made it easy for materials from the East to 
reach the homebuilders of the WeSt. It is, therefore, 
along these arteries and the rivers and lakes that we find 
many of the examples of the Hellenic architecture of the 
Northwest. 

In summing up the general characteristics of each 
territory are as follows: 

In the Northern Seaboard the temple type with or with- 
out subsidiary wings predominated almost to the exclu- 
sion of any other type. 

In the Southern Seaboard the temple and late Southern 
Colonial form swathed in Greek or Roman detail went 
hand in hand, both being equally popular. 

In the Old Southwest cubical, box-like Structures, often 
without roofs, preceded by a colossal colonnade or com- 
pletely surrounded by colonnades predominated almost 
tothe exclusion of other forms. The great number of large 
manor houses with high studded rooms was in direét con- 
trast to the more modest dwellings of the old Northwest. 

The Old Northwest is distinguished by its great 
variety of types, Greek buildings contemporaneous with 
Colonial. ‘The Greek phase was marked by great varia- 
tions with no marked type predominating. The neces- 
sity of colonnaded fronts was not felt and the general scale 
of the houses was most modest. ‘These characteristics 
of the Northwest were a natural outgrowth of social con- 
ditions and a heterogeneous population. 


PLATES 


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THE NORTH ATLANTIC SEABOARD 
MAINE, VERMONT, MASSACHUSETTS, CON- 
NE€CTICUT, NEW YORK, PENNSYLVANIA, 
NEW JERSEY, DELAWARE, MARYLAND 


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PLATE 1 


ELLSWORTH, MAINE 


PLATE 2 


HOUSE ON DANFORTH STREET, PORTLAND, MAINE 


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PLATE 6 


CASTLETON, VERMONT 


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PLATE 7 


HOUSE AT CORNER OF SUMMER AND BEDFORD STREETS, BOSTON 
Now destroyed 


PLATE 8 


SLLASQHOVSSVW 'AUNAXOU ‘ASQOH NVNGOO AUNAH 


PLATE 9 


SLLASQOHOVSSVN 


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RARABBBRI AAD. 


PLATE to 


. ROXBURY, MASSACHUSETTS 


EDWARD EVERETT HALE HOUSE 


WHITTIER HOUSE, AMESBURY, MASSACHUSETTS 


” 


OAK KNOLL, 


RieAg Ear 


paneeees 


fumes 


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BOOTH HOUSE, BOSTON 


PLATE 12 


ROXBURY, MASSACHUSETTS 


DOORWAY AT 59 MT. VERNON STREET, BOSTON 


PLATE 14 


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COUNTY STREET FRONT OF OLD BENNETT HOUSE, NEW BEDFORD, MASSACHUSETTS 


Built by John Avery Parker in 1834 


PLATE 15 


LOUISBURG SQUARE, BOSTON 


PLATE 16 


HOME OF RICHARDSON WRIGHT, SILVER MINE, CONNECTICUT. 1840 


PLATE 17 


NDON, CONNECTICUT 


NEW LO 


CTICUT 


CONNE 


SANFORD HOUSE, LITCHFIELD, 


LAOILOANNOOS 'NOLONINUVA 


PLATE 18 


PLATE 19 


0641 *LAOILOANNOO ‘ATAIMUIVA 


‘ASQOH YUAN SNACAGVHL 


LOOTLLOANNOOD 'NOGNOT MAN LV SAVMUOOG 


PLATE 21 


THE BOODY HOUSE, ROSE HILL, SENECA LAKE, NEW YORK, 1838 


PLATE, 22 


( 


it) 
9; 


— 


ma 
is 


DANIELS HOUSE, MAIN STREET, OWEGO, NEW YORK 


PLATE 23 


RODSMANS NECK, NEW YORK 


MARSHALL HOUSE 


MUYOA MAN “UOACNVD 


PLATE 25 


MUOA MAN ‘VOVHLI 


acm 


opera 


7 


— 
nA 


PLATE 26 


YUOA MAN ‘VOVHLI 


PLATE 27 


STATEN KLAND, NEW YORK 


PLATE 28 


NEW YORK 


STATEN ISLAND 


» NEW YORK 


STATEN ISLAND 


WUOA MAN ‘UOGNVO 


PLATE 30 


OWEGO, NEW YORK 


NT STREET. 


ON FRO 


COOPERSTOWN, NEW YORK 


HOUSE, COLLIERSVILLE, NEW YORK 


PRESTON 


PLATE 32 


MWUOA MIN *ALNNOO VOOLL 


“ATTIAAASTIIM 


PLATE 33 


MUOA MAN ‘NMOLSUAAOOD 


GREAT NECK, LONG ISLAND, NEW YORK 


RANDOLPH, NEW YORK 


PLATE 


peeesr irre s 


GREAT NECK, LONG ISLAND, NEW YORK 


MILLER HOUSE, LUDLOWVILLE, NEW YORK 


MONTOUR FALLS, NEW YORK 


PLATE 38 


HARPERSFIELD, NEW YORK 


HARPERSFIELD, NEW YORK 


PLATE 39 


A DOORWAY AT RANDOLPH, NEW YORK 


Wa 


i 


ITE) 


rd 


~~, 


A DOORWAY AT DERUYTER, NEW YORK 


> 


ths 


oo” 


PLATE 40 


THE PORTICO AT ANDALUSIA, BUCKS COUNTY, PENNSYLVANIA, 1834-36 


PLATE 41 


fg 


“VINVATASNNAd ‘NOILV.LS AYOLOTAOUd UVAN ‘ASNOH TITWAHLAM 


a0lud NHOf ‘AAOUD LSNOOT 


PLATE 42 


VINVATASNN4d ‘NOSNGNYV ‘SGNVTLVA AHL 


peyst[oulsp MON 
VIHd TA GVTIHd ‘SLAAULS LANTVM GNV P61 ‘ASNOH SLUAIOU 


ven 


ELSA! 


PLATES 44 


REED HOUSE, 1601 CHESTNUT STREET, PHILADELPHIA 
Now demolished 


le 


PORTICO ROW, SOUTH SIDE OF SPRUCE STREET FROM gth TO roth STREETS, PHILADELPHIA 


PLATE 46 


i 


LE paca 


1109 WALNUT STREET, PHILADELPHIA 


Now demolished 


PHILADELPHIA 


212 SOUTH 4th STREET, 


PLATE 48 


PORTICO DOORWAY, GOWEN HOUSE, MOUNT AIRY, 


PHILADELPHIA 


DOORWAY, 715 SPRUCE STREET, 


PHILADELPHIA 


AGSUAL MAN ‘LAWUVW MAN ‘AONACISAU ATANIM NVA 


PLATE 49 


a ls gees aaa. 8 
iy 


} 


HOUSES AT METUCHEN, NEW JERSEY 


PLATE s1 


SEEBRING RESIDENCE, PLAINFIELD, NEW JERSEY 


ae) 
cS 
ae 
az 
es 
Un 
iS) 


yy 


AGNEW RESIDENCE, NEW BRUNSWICK, NEW JERSEY 


PRINCETON, NEW JERSEY 


NEW JERSEY 


A DOORWAY AT BORDENTOWN 


J 
“ 
4 
. 
if 
x oe 
m 
7AP) 
t 
i) + 
wy 
- 
. 
* 
y 
‘ é 
; 
U 


PLATE 55 


$ 
a 
2 


poet 


WILMINGTON, DELAWARE 


AYOWLLIVA “LATULS LNAWOANOW LsaM Lor 


AUOWILIVA ‘LAAULS NITNNVUA LSAM 611 


PLATE 58 


604 CATHEDRAL STREET, BALTIMORE 


PLATE 59 


515 PARK AVENUE, BALTIMORE 


PLATE 60 


AUOWLLIVA “LAYULS NITANVAA 


LSAM git 


AUYOWILIVA ‘“LAAULS NITYNVUA LSAM Sor 


PLATE: 61 


AUYOWLLTVaA 


‘ 


LATULS NONUAA 


LNOOW .LSAM 8 


monsaannsnnnantenteeal 


quaneeseRGueeeeaneee 


hie OLD NORTHWEST 
OHIO, ILLINOIS, MICHIGAN 


aM 


OIHO ‘SNAHNNTIOO “ASNOH AATTI 


PLATE 62 


PLATE 63 


OIHO ‘X1WMUON 


<p EI 


PLATE 64 


GUTHERIE HOUSE, ZANESVILLE, OHIO 


WARREN, OHIO 


PLATE 66 


OIHO ‘ADGVWIV.L 


PLATE 67 


OIHO ‘A TIIANVAD 


‘aSQ0H VLIAG VWAWV9 IHd 


PLATE 68 


OIHO ‘STV, 


1 NIYOVHO 


PLATE 69 


HOUSE BETWEEN CHAGRIN FALLS AND SOLON, OHIO 


OIHO ‘NOLONITIAM UVAN ASMOH 


PLATE 71 


WEST OF ROCKY RIVER, OHIO 


E 


HURST HOUS 


OHIO 


STREETSBORO, 


. 


SINGLETARY HOUSE 


PLATE 72 


BALDWIN BUSS HOUSE, HUDSON, SUMMIT 


COUNTY, OHIO 


| 


HOUSE WEST OF ASHTABULA, OHIO 


NORWALK, OHIO 


KIRTLAND, OHIO 


PLATE 76 


PICKERING HOUSE, ST. CLAIRSVILLE, OHIO 


GAYLORD EOUSE, SILVER LAKE, OHIO 


OIHO ‘ATIIANVUS “ASNOH VLTAG VNWVS IHd ‘AVMUOOd : OIHO ‘SNANNTOS ‘ASNOH ATTTAN ‘HOUOd LSVA 


Vee 9 
A, 


un | 
WMA 


Cae 
ie 
ra SY 


PLATE 78 


DOORWAY, 405 FRONT STREET, MARIETTA, OHIO 


DOORWAY OF BALDWIN BUSS HOUSE, HUDSON, OHIO 


PLATE 79 


BL 
Y 


/ 


Ye Be. ond 


cutee 


A DOORWAY AT MADISON, LAKE COUNTY, OHIO 


DOORWAY, ELWELL HOUSE, WILLOUGHBY, OHIO 


PLATE 80 


OIHO ‘NOSCGOH ‘ADATIOO AAUASAU NUALSA 


M “TIVH 


ONINIG ‘AVMUOOd 


OIHO ‘ATTIASANVZ ‘ASQOH WVYHONINONA ‘AVMUOOd 


PLATE 81 


THE McKINNEY HOUSE, PEORIA, ILLINOIS. BUILT I 
Now destroyed 


N 1847 BY JUDGE PETERS 


PLATE 82 


ULRICHSON, ARCHITECT, CAME FROM PENNSYLVANIA 


BUILT IN 1848 BY JOHN REYNOLDS. 


THE MORRON HOUSE, PEORIA, ILLINOIS. 


PLATE 83 


THE PIKE HOUSE, FULTON STREET, GRAND RAPIDS, MICHIGAN 


PLATE 84 


ofgt 


‘NVOIHOIW ‘ANVT rabies 


‘ASQOH HLIWS 


PLATE 85 


NVOIHOIN 


‘WOduv NNV 


Sane ME aR | 


PLATE 86 


r ae yg 


ses | 


\\\ AVAIL Wu | . 
EE ite 


nomad 


, 1850 


MICHIGAN 


MILLS HOUSE, TIPTON, 


PLATE 87 


6fgr ‘ 


NV 


DIHOIW ‘HASNNOAL ‘ASNOH UYALSI 


TIVOW SHWE 


PLATE 88 


NVOTHOIW ‘NOLdI.L 


PLATE 89 


SMITH TAVERN, CLINTON, MICHIGAN, 1840 


PLATE 90 


gSgr 


‘NVOIHOIW ‘AOUNOW ‘HLIWS 


‘ua SHNVI TANOTOO AO ASNOH 


PLATE 91 


7SgI ‘NYDIHOIW ‘dTAI 


ASSITd “WAL 


N 


aduvO GIAVG dO ASNOH 


PLATE 92 


ANDERSON HOUSE, TECUMSEH, MICHIGAN 


NEAR MANCHESTER, MICHIGAN 


THOMAS HOWLAND HOUSE, NEAR ADRIAN, MICHIGAN, 1840 


ie 


et ENS Secchi, ~ 


A TYPICAL MICHIGAN FARMHOUSE, BUILT BY BUTLER TREAT IN 1851, NEAR TECUMSEH, MICHIGAN 


NVOIHOIN ‘NOLNITIO YVAN ‘ASQOH SMAHLLVN 


DOCTOR MASON HOUSE, DUNDEE, MICHIGAN 


PEAVEY HOUSE, NEAR TIPTON, MICHIGAN 


PLATE 96 


4 
i 


eon 


eS 
Peg Sp rerttrer 


DOORWAY ON LA PLAISANCE BAY ROAD, LENAWEE COUNTY, MICHIGAN 


mae SOUTH ATLANTIC SEABOARD 


VIRGINIA, NORTH CAROLINA, SOUTH 
CAROLINA, SOUTHEASTERN GEORGIA, 
FLORIDA 


Wy 


rh 
f 
; 
> 
. 
‘ 
2 
a ae ee 


“ 
. 
j 
+ 
j 
~ 
. _- 

- 

— 

a = 


“a 


i 7 * = =» = a ‘ a 
: 4 ss ‘7 eit =. Pek je? 7" 
, ie i 3 AY 
in * ; 7 ra) 
= t ; ~ 
7 Y ; P% 
: 
° 4 
’ 
* 


VINIDUIA ‘ALNQOO VIMGNVXATY «‘NOLONITYV ,, 


PLATE 98 


VINIOUIA ‘ALNOQOO GNVTYAANOHLUON «'VOALNVN,, 


“BERRY: HILL,” CHARLOTTE COUNTY, VIRGINIA 


PLATE 109 


VINIOUIA ‘GNOWHOIY ‘AONACTISAY UAHOUV AHL 


a STUTHHTTAAAAE: 


‘= = + . 


‘ee 


PEATE tor 


NORTH CAROLINA 


RALEIGH 


SIDENCE, 


MARTICHAL RE 


PLATE 102 


DOORWAY OF THE MARTICHAL RESIDENCE, RALEIGH, NORTH CAROLINA 


PLATE 103 


8S. 
Sargorge.. toy. 


Ly MD 


MIKELL RESIDENCE, MONTAGU AND RUTLEDGE STREETS, CHARLESTON, SOUTH CAROLINA, ABOUT 1853 


PLATE 104 


RUTLEDGE AND MONTAGU STREETS, CHARLESTON, 
SOUTH CAROLINA 


PLATE 105 


cy 


canner 


THE MILLER RESIDENCE, CHARLESTON, SOUTH CAROLINA 


PEALE. 106 


9 BAY STREET, CHARLESTON, SOUTH CAROLINA 


~~ — 


ELA TES 107 


te 

‘ 
; 
a 
: 
ta 
4 
a 
¢ 

y 

4 


ALSTON RESIDENCE, CHARLESTON, SOUTH CAROLINA 


PLATE 108 


SOUTH CAROLINA 


LADSON RESIDENCE, CHARLESTON 


PLATE 109 


MS Sigh 


ys 
aga, 
iitinis, fines: 


CHARLES ALSTON HOUSE, CHARLESTON, SOUTH CAROLINA 


WILLIAM MASON SMITH HOUSE, CHARLESTON, SOUTH CAROLINA 


IPILZAMINS, Tie 


CHARLESTON, SOUTH CAROLINA 


PEAT EArTr 


BEAUFORT, SOUTH CAROLINA 


S26 


PAL ANIEIS, ier 


SAVANNAH, 


GEORGIA 


PLATE. 113 


VIDUYOUD ‘HYNNVAVS LV FJONVULNA NV 


iill 


aH 


Ninel! 


te 


VIDUOUD ‘HVNNVAVS LV AONVULNA NV 


Ee 


leks 
fal ke 
my 


329 ABERCORIE STREET, SAVANNAH, GEORGIA 


A CAST IRON BALCONY AT SAVANNAH, GEORGIA 


PLATE 115 


PORTICO OF THE TELLFAIR ART GALLERY, SAVANNAH, GEORGIA 


CAST IRON RAILING AT TELLFAIR MUSEUM 


ROAR ES G16 


THE 


HERMITAGE, SAVANNAH, GEORGIA, BUILT 1830 


= 


PLATE 117 


ELY HOUSE, MARIANNA, FLORIDA 


i 
08 -) Pe 
ss 
-. 
_ on 
it <= ; 
i 
=< 
Le 
7 
Ve — 
‘ _ 
=a : _ , 
on q 
a 


oy. 


THE OLD SOUTHWEST 


NORTHWESTERN GEORGIA, ALABAMA, 
MISSISSIPPI, LOUISI-AN-A 


a eee 


Sim of | 


(fa 


PLATE 118 


COLUMBUS, GEORGIA 


PLATE 119 


COLUMBUS, GEORGIA 


PLATE 120 


ag : ry 


eee, 


it Se 


EID Tey. 
wn eae — 


FANTAINE HOUSE, COLUMBUS, GEORGIA 


AT COLUMBUS, GEORGIA 


642 PRINCE STREET, ATHENS, GEORGIA 


PLATE 122 


ATHENS, GEORGIA 


PLATE 123 


VIOUOAD ‘SNAHLV ‘LAAULS JONIUd NO ASNOH 


PLATE 124 


VIDYOAD 


SN@H.LV 


LAAULS TIIH Sz 


PLATE 125 


rake 


BRADSHAW HOUSE, ATHENS, GEORGIA © 


PLATE 126 


,» GEORGIA 


LA GRANGE 


PLATE 127 


DALLIS HOUSE, LA GRANGE, GEORGIA 


VIDUOAD ‘AODNVUO WT ‘ASNOH .SHATAU “M 


PLATE 128 


PLATE 129 


VIDUOAD 


‘ADNVUO VI ‘ASNOH AdOL 


PLATE 130 


VIOUOAD ‘AONVUO VI ‘ASNOH TIIH 


PLATE 131 


VIDYOaD “ITAMSOU “ITVH VSOWON 


PLATE 132 


MILLEDGEVILLE, GEORGIA 


CUTIVE MANSION, 


EXE 


PLATE 133 


VIOYOUD ‘NOOVW ‘ASNOH UVAdS AUOWA 


PLATE 134 


COLEMAN HOUSE, MACON, GEORGIA 


PLATE 135 


VIDUOAD ‘NOOVW ‘ASQOH TIVWS Hd TVu 


PLATE 136 


VIDYOAD ‘NOOVW ‘ASNOH S.YATTIN YOLOOG 


“CSCC CCESY «* 


* 


PLATE 137 


ATLANTA, GEORGIA 


any 


PEAT e138 


ALABAMA 


MONTGOMERY 


NTGOMERY, ALABAMA 


MO 


PLATE 139 


VAVAVIV ‘VSOOTVOSOL ‘ASQNOH NVWASOU “I *d 


LOS cae th Ei 


OTT a cc 


PLATE 140 


ALABAMA 


Silver hardware 


COCHRANE PLACE, TUSCALOOSA, 


Cast-iron capitals, 


Brick columns, 


PLATE 141 


BATTLE HOUSE, TUSCALOOSA, ALABAMA 
lined and coloured (not painted) to imitate pink and yellow marble in its original condition 


Stucco, 


PLATE 142 


SPENCE HOUSE, TUSCALOOSA, ALABAMA 


PLAT KH e143 


ueUyst[suq Uk—IaNYUY ‘s[OqSIN 
VWVAVIV ‘VSOOTVOSA.L ‘VNVEVIV 10 ALISUAAIND “ASQOH S.LNICISAad 


‘ 
i 
s 
e 
' 


PLATE 144 


HUNTSVILLE, ALABAMA 


PLATE 145 


VNVAVIV ‘ATILASLNOH 


PLATE 146 


VWVAVIV ‘ATIIASLNOH 


PLATE 147 


ALABAMA 


. 


CASEY HOMESTEAD, NEAR AUBURN. 


ALABAMA 


» NEAR TUSKEGEE, 


RUSH HOMESTEAD. 


COBB HOUSE, TUSKEGEE, ALABAMA 


TUSKEGEE, ALABAMA 


PLATE 149 


AN 


1 rT " ; ain } 
HHA AAR ate agate ot Waite 
id; 


A COTTAGE AT TUSKEGEE, ALABAMA 


AT TUSKEGEE, ALABAMA 


PLATE 150 


4 
i 
i 
a 
qq 
a 


A “RAISED”? COTTAGE AT AUBURN, ALABAMA 


Ret ken 


in ga 


A COTTAGE AT AUBURN, ALABAMA 


PLATE 151 


HUNTSVILLE, ALABAMA 


PLATE 152 


” 


““MONMOUTH,”’ HOME OF MRS, A. G. GARVIN, NATCHEZ, MISSISSIPPI 


PLATE 153 


IddISSISSIN ‘ZHHOLVN ‘NUVIO “L “Y AO 


AONACISAY «"TIVH 


NOLNVLS,, 


PLATE 154 


IddISSISSIW 


‘ZAHOLVN ‘UALNAdUVO ‘N ‘f dO AWOH «‘HLIAINOAC,, 


PLATE S155 


A PLANTATION HOME AT NATCHEZ, MISSISSIPPI 


REAR OF SARGENT HOUSE, NEAR NATCHEZ, MISSISSIPPI 


PLATE 156 


A PLANTATION HOME AT NATCHEZ, MISSISSIPPI 


PLATE 157 


“DEVEREAUX,”” HOME OF MRS. BAYARD SHIELDS, NATCHEZ, MISSISSIPPI 


PLATE 158 


NATCHEZ, MISSISSIPPI 


GENERAL GRANT’S HEADQUARTERS, VICKSBURG, MISSISSIPPI 


PLATE 159 


IddISSISSIN "ZHHOLVN 


SNVATUO MAN ‘LATULS LUVINVU 72 


SNVATUO MAN ‘LATULS VINVLAUd 1277 


PLATE 160 


Sa 
aE 


BAKER HOMESTEAD, NEAR THIBODAUX, ON BAYOU LA FOURCHE, LOUISIANA 
Flanking wings on both sides. Order executed in stucco 


A PLANTATION HOME ON BAYOU LA FOURCHE, NEAR THIBODAUX, LOUISIANA 


PLATE 162 


“HERMITAGE,”? THE FIRST HOME OF THE BRINGIER FAMILY, ASCENSION PARISH, LOUISIANA 
All interior trim and stair in solid walnut from trees on the plantation 


“THREE OAKS,’? A PLANTATION HOME NEAR CHALMETTE, LOUISIANA 


PLATE 3163 


PLANTATION HOUSE NEAR CONVENT, LOUISIANA 
Unique grouping of columns 


ACROSS RIVER FROM NEW ORLEANS, LOUISIANA 


“LS NOAVA 


WNVISINOT ‘'NHOf 


at 


TRA fed FRE TB 


PLATE 164 


PLATE 165 


ri 


_ 


STOVER HOUSE, NEW ORLEANS 
A fine example of *‘ Raised Cottage” type 


IN THE OLD AMERICAN SECTION, NEW ORLEANS 


SNVATYO MAN «LOTULSIG NAGUVD,, NI 


SNVATYO MAN «.“LOIULSIG NAGUVD,, NI 


ve. 
oe 


Seti 2) 


PLATE 166 


PLATE 167 


SNVATYO MAN ‘LOIULSIG WLATUAVO XNALA,, ‘AVALSHANOH AUVOANNAVAA 


SNVATYO MAN «'\LOIULSIG NAGUVD,, NI 


PLATE, 168 


SNVATYO MAN ‘SLAAULS LANLSAHO AGNV NOSNOV[ LV 


rv 


"7 
= 
i 
>» e 
ae 
~ 
-* 7 a 
omy 
; 7 : 
_ — 
7 —- a 
‘* 
- - _ 
oy 
i. 7 7 
° — 7 
~. Se 
a a 


ne 
‘ 


INDEX 


Adam, Brothers, 30, 31 
Alabama, 5, 8, 46 
University of, 91 
Alleghanies, 6, 59, 83, 86, 95 
American Revolution, 28, 44, 83 
Amphiprostyle, Octastyle, 18 
Andalusia, near Philadelphia, 47, 66 
Antae, 64, 66, 70 
Arcade, see Basement Story, 41 
Arches, 64 
Architects in the Republic, 13, 17, 34, 36, 
37, 38, 39, 41, 42, 44, 47; 91 
Amateur, 13, 34, 36, 37, 38, 41, 42, 44, 91 
European, 17, 20, 24, 29, 30, 33, 42, 47 
In the colonies, 13, 34 
Architecture, America’s independent, vii, 
3, II, 12, 14, 27, 33, 42, 44, 85, 89 
Architraves, 66, 75, 90 
Door, 50, 64, 73 
Window, 50, 64, 73 
Arlington, Alexandria County, Va., 36, 46 
Ashlar, see Stone, 53 
Athens, Ga., Cast iron balcony, 76 
Atlantic Seaboard, vii, 5, 6 
Attic, 64 


Balconies, 76, 90 

Balusters, 75 

Basement Story, 41, 91 

Bays, 55 

Benjamin, Asher, 38 
“The Architect or Practical House Car- 

penter,”’ 1830, 41, 48, 50, 68, 70, 72 

Berry Hill, Va., 48 

Biddle, Nicholas, 46, 47 

Books on Architecture, Influence of, x, xi, 
18, 24, 28, 29, 31, 32, 33, 34, 41. See also 
Handbooks on Architecture 

Boston, 37, 38 

Brady, J. C., 39 

Brick, 53, 64, 79, 88 

“Brickbuilder, The,’’ 1904, 88 

Bryant, William Cullen, 44 

Bullfinch, Charles, 37, 38 

Burr, Thaddeus, House, Fairfield, Conn., 


34, 35,39 


Campbell, Colin, “Vitruvius Britannicus,” 
23, 24 
“ Palladio,”” 28 
Canada, 83 
Capitals, 53 
Corinthian, 53, 88 
Doric, 41 
Tonic, 91 
Carolinas, 5, 85, 86 
“Carpenters Classic,” 8 
Carstairs, Thomas, 38 
Carter, Elias, 39 
Cast iron, Ornamental, 53, 64, 75, 76, 77, 88 
Ceilings, 72 
Cella, 29, 31, 41, 62 
Centre blocks, 66, 75 
pieces, 72 
Charleston, S. C., 90 
Chimney piece, 72, 73 
Cincinnati, 85 
Clapboards, 53 
Claridon, Ohio, Doorway of house at, 94 
Clerisseau, ‘“‘ Monuments de Nimes,” 20 
Climate, Suitability to, 11, 33, 89, 90 
Cochrane, Dr. William, 88 
“Cochrane Place,” 1840, 88 
Cockerell, S. P., 31, 36 
Collaborators, vii, viii, ix 
Colonade, 14, 18, 47, 59, 60, 62, 88, 90, 96 
Colonial Architecture, 6, 7, 11, 12, 13, 18, 50 
53, 60, 62, 70, 73, 87, 88, 93, 94, 96 
Design; Similarity between English 18th 
Century architecture and, II, 12, 13 
Colossal, 14, 59, 88, 90, 91, 96 
Columbus, Ohio, 95 
Columns, 18, 20, 46, 48, 53, 55, 59, 60, 64, 
66, 68, 70, 72, 78, 79, 88, 90 
Engaged, 66, 73 
Proportion of, 68, 70, 90 
Connecticut, 85 
Consoles, 64, 66 
Cooper, James Fenimore, 44 
Corner blocks, 66, 68, 75 
boards, 53 
Cornices, 50, 90 
Cotton belt, 5, 86, 87 


233 


INDEX 


Cox House, Dresden, Ohio, 68, 69 
Cumberland, Md., 95 
Cupela, 72, 73 


Dado, 72 

Davis, A. J., 39, 74 

Demopolis, Ala., 91 

de Tesse, Countess, 20 

Doors, 50, 64 

Doorway, 55, 64, 65, 66, 72, 90, 94 
Downing, Andrew J., 78, 79 
Dublin Society, 34 


Eaves, 63 

Eighteenth Century, 12, 21, 28, 30, 34, 37, 
38, 72, 75,77, 83 90 

Empire styles, 43, 44 

England, 12, 13, 17, 24, 28, 30, 31, 33, 36, 
37, 44, 83 

English Architecture, 12, 13, 27, 28 

English influence, 13, 27, 28, 33, 34, 43, 44, 
50 

Entablature, 62, 63, 66, 70, 72, 90 

Erie Canal, 96 

Europe, Travels in, 13, 20, 36, 37, 47 

European influence, 14, 20, 27 


Fan-light, 68 

Federal Architecture, 4 
Finials, 75 

Fire places, see Chimney pieces, 72 
Florida, 11, 45, 89 

Fluting, 66, 73 

Fourteenth Century, 75 
Frame, 53 

France, 20, 36, 37, 43 

French Architecture, 44 
French emigrés, 43, 91 

French influence, 43, 44, 86, 91 
French Revolution, 43, 91 
Frieze, 64 

Fulton, Robert, 78 


Gable, 62 

Gainswood, Demopolis, Ala., 91, 92 
Garden Temples, 23, 29, 31 

Gates, 77 

Georgia, 8, 11, 45 

Georgian Architecture, 3, 12, 13 


“Georgian Period, The,” 1901, 12, 60, 87 

Girard College, Phila., 70, 71 

Governor’s House at Williamsburg, 18, 19, 
20, 21 

Graeco-Roman school, 29, 30, 31 

Great Lakes, vii, 7, 83, 86 

Greece, 4, 17, 28, 46, 47, 78 

Greek forms, 45) 17.).27) 20, 3 Oy sna camer 
34, 35, 39, 41, 43, 46, 48, 50, 59, 70, 77, 
78, 79, 89, 95, 96 

Greek mania, 44, 45, 46, 79, 89 

Greenfield, Mass., 38 

Grilles, Window, 53, 64 

Gulf States, vii, 11, 83, 86 


Hagley, Garden temple at, for Lord Lyttel- 
ton, 29, 31 

Hall, Louis, House, Osborne, Mich., 62 

Hallet, Stephen, 34, 36 

Halls, 88 

Handbooks on Architecture, 13, 38, 48, 93, 
94. See also books on Architecture 

Hardware, 88 

Harvey, George, 39 

Hatfield, George, 36, 46 

Hexastyle, 21 

Hoban, James, 34 

Hopper, Edward, 28 


Illinois, 46 

Indian, 83 
disturbances, 84 

Indiana, 46, 85 

Indianapolis, 95 

Interiors, 72, 73, 74 

Irving, Washington, 44 


Italy, 37 


Jamb, 68, 75 
Jefferson, Thomas, 17, 18, 19, 20, 21, 22, 24, 


27, 37, 39; 41, 42 
Jones, Inigio, 17, 28 


Kentucky, 46, 85, 86 

Keystone, 66, 75 

Kimball, Fiske, “Domestic Architecture of - 
the American Colonies,” N. Y., 1922, 12, 
Tas wan 

Kitchens, 88 


234 


INDEX 


Lafever, Minard, ‘““The Modern Builder’s 
Guide,” 1833, 39, 48, 49, 50, 54, 55, 60, 
61 

Lake Erie, 85 

Latrobe, Benjamin, 31, 36, 39, 40 

L’Enfant, Major Pierre Charles, 37 

Leoni, Giacoma, “‘Palladio,”’ 28 

Library Company of Philadelphia, 34 

Lintels, 64, 68 

Literature, Independent American, 44 

Log cabins, 83, 84, 85 

Logan Elm, Log Cabin at, 83 

London, 37 

Lord Lyttelton, 29 

Louisiana, 46, 86 


Mackay House, Willseyville, N. Y., 64, 

66 

Madeleine, Paris, 24, 39 

Maine, 11, 45 

Maine State House, 38 

Maison Carreé, 20, 21 

Major, Thomas, “Ruins of Paestum,” 34 

Marble, 53, 73 

Marietta, Ohio, 85 

Maryland, 86 

Mc Comb, John, 38 

Mc Intyre, Samuel, 38 

Mezzanine, 91 

Michigan, 8, 45 

Mills, Robert, 36 

Mississippi, vil, 5, 46, 83 

Mississippi River, vii, 5, 7, 86 

Missouri, 46 

Mitchell, Robert, ‘Plans and Views in Per- 
spective, with Description of Buildings,” 
31, 32, 33, 41, 43 

Montgomery, Ala., House at, 59 

Monticello, 18 

Morse, Samuel F. B., 78 

Mouldings, 41, 64, 70 

Mullions, 64 


Napoleon, Court of, 91 

National Capitol Building, Washington. 
DP C3753 

National Monument at Edinburgh, 39 

National Road, 95 

New Bedford Court House, 78 


New England, 5, 38, 39, 85, 86, 87, 94 

New Jersey, 45 

New York, 5, 38, 39, 43, 45 

New York City Hall, 38 

Nichols, Mr., 91 

Nicholson, 50 

Nimes, 20 

Ninteenth Century, Artistic expressions in, 
3, 12, 14, 53, 59, 60, 75, 77 

Nomenclature, 4, 8, 27, 45, 46 

No. 15 St. James Square, 29, 30 

No. 1107 Walnut Street, Phila., 64, 65 

No. 1109 Walnut Street, Phila., 63 

North Atlantic Seaboard, 6, 45, 53, 72, 94, 
95, 96 

North Carolina, 45 

Northern Indiana Historical Society, The, 7 

Northwest, The Old, 5, 6, 7, 45, 66, 83, 85, 
86, 87, 88, 91, 93, 95, 96 


Ohio, 8, 45, 85 
Ohio River, 5, 7, 83, 85, 87, 95 
Orders, 14, 27, 33, 34, 35, 39, 41, 48, 70, 
89, 90, 91, 95 
Corinthian, 70 
Doric, 70 
Tonic, 70 
Lysicrates type, 70, 71 
Outbuildings, 88 
Over-mantel, 73 


Paestum, Temple at, 34, 46 

Palladian School, 28, 30, 31 

Palladio, “Four Books of Architecture,” 
18, 19, 20, 28 

Panelling, 72 

Parris, Alexander, 38 

Parthenon, 39, 48 

Paulding, James Kirke, 44 

Pavilions, 60 

Pediment, 18, 19, 20, 59, 60, 62, 63, 66, 
88 

Pennsylvania, 5, 45, 85 

Pennsylvania, Bank of, 36 

Pennsylvania State Capitol, Harrisburg, 
36 

Peristyle, 32, 47 

Philadelphia, 36, 38, 47, 91 

Pilasters, 53, 72, 73, 90 


235 


INDEX 


Plan, 19, 20 23, 43, 50, 53, 54, 55, 60, 61, 88, 
91,93 

Plantation Home, 59, 60, 86, 87, 88, 96, 5, 6, 
II 

Porches, 90, 91 

Porte Cochére, 55 

Porticos 19,20; 21,, 46,553, 60,62; 63,) 66; 
88 

Portsmouth, N. H., Doorway at, 66, 67 

Potomac, 6, 46 

Prostile Hexastile Eustile, 24 

Prostyle, 47 

Provence, 20 


Railings, 53, 75 

Ramsey, S. C., “Small Houses of the Georg- 
ian Period,’’ London, 1919, 12, 13 

Reeding, 66, 68, 73 

Richmond, Va., 21 

Ricketson, Daniel, 78 

Roman forms, 17, 18, 20, 21, 24, 27, 28, 32, 
33, 34, 41, 48, 70, 89, 96 

Rome, 4, 17, 18, 20, 24, 28, 36, 78 

Root, 18, 19, 20, 59, 60, 62, 96 

Rotch, Joseph, House, 78 


Salem, Mass., 38 

Sash, 63 
bar, 64 

Scientific development, 78 

Seymour’s, Professor, House, Hudson, Ohio. 
66, 67 

Shingles, 53, 84 

Sidelights, 64 

Siding, 53 

Singletary House, Streetsboro, Ohio, 93, 94 

Slaves, 5, 6, 86, 87 

South Atlantic Seaboard, 6, 45, 86, 96 

South Carolina, 34, 45 

South Carolina State House, 34 

Southwest, The Old, 6, 7, 14, 46, 59, 72, 83, 
85, 86, 87, 88, 89, 91, 96 

Spanish Architecture, 89 

Stars, Band of, 68 

Stevens, John C., House, interior of, 74 

St. John’s Church, New York City, 38 

Stone, 53, 64, 68 

Stories, Height of, 72, 90, 96 

St. Paul’s, London, 77 


> 


- 


Strickland, William, 36, 40 

Stuart, James, 29, 30, 31 

Stuart and Revett, “Classical Antiquities 
of Athens,” 28, 29, 34, 50 

Stucco, 53 

Subdivisions of the Style, 5, 6, 7, 11, 83, 85, 
86, 91, 93, 96 

Sussex, England, 75 


Temple form, 4, 14, 17, 18, 19, 20, 21, 24, 27, 
31, 32, 33, 41, 43, 46, 47, 53, 55, 59, 62, 
78, 89, 95, 96 

Tennessee, 86 

Thompson, M. E., 39 

Thornton, Dr. William, 37, 38 

Towne, Ithiel, 39 

Trading posts, 85 

Transom, 64, 68 
circular, 64 
elliptical, 64, 68 
square, 64 

Transportation, 95 

Treat House, Aurora, Ohio, 68 

Trellises, 53 

Trims, see Architraves 

Trollope, Mrs. Frances, 43 

Tusculoosa, Ala., State Capitol, 91 

Tuskegee, Ala., House at, 88, 89 

Tuthil, Mrs. L. A., 79 


Unionville, Ohio, Doorway at, 66, 69 
United States, Bank of, 39, 40 


Van Ness Mansion, Washington, D. C., 54 
55 

Van Vorst Mansion, Jersey City, N. J., 
60 

Verandas, I1 

Vermont, 45 

Vesper Cliff, Oswego, N. Y., 72, 73 

Virginia, 5, 18, 20, 45, 86 

Virginia State Capitol, 20, 22, 24, 39 

Virginia, University of, Pavilion, vii, 41, 
42 

Virginias, 85, 86 

Vosoirs, 68 


Walhalla, at Regensburg, 39 
Wall surfaces, 72, 90 


36 


INDEX 


Walter, Thomas, 38, 71 
War of 1812, 43, 44, 84, 95 

of Greek independence, 44, 48 
Ware, Isaac, ‘“Palladio,’’ 28 

“ Body of Architecture,” 1756, 75 
Washington, D. C., 37, 46 
West Indies, 37 
Westward, Migration, 5, 84, 85, 86, 93, 95 
Wheeling, 95 
White House, Washington, 34 
Whitfield, General G. B., 91, 92 


Windows, 50, 63, 64, 72 

casement, 63 

circular headed, 63 

frieze, 63 

triple, 63 

triple sliding windows, 63 
Wings, 55, 60, 62, 63, 91, 96 
Wisconsin, 46 
Wood, see Frame, 78, 79 
Wrought Iron, 75, 77 


§4-B HOF 


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